The sublime is confused with the ridiculous in this savage commentary on the human condition, a staple of every theatre classroom and 20th century drama. A small town is besieged by one roaring citizen who becomes a rhinoceros and proceeds to trample on the social order. As more citizens are transformed into rhinoceroses, the trampling becomes overwhelming, and more and more citizens become rhinoceroses. One sane man, Berenger, remains, unable to change his form and identity.
In Rhinoceros, as in his earlier plays, Ionesco startles audiences with a world that invariably erupts in explosive laughter and nightmare anxiety. A rhinoceros suddenly appears in a small town, tramping through its peaceful streets. Soon there are two, then three, until the "movement" is universal: a transformation of average citizens into beasts, as they learn to move with the times. Finally, only one man remains. "I'm the last man left, and I'm staying that way until the end. I'm not capitulating!"
“With outrageous comedy” this classic of Absurdist drama “attacks the most serious subjects: blind conformity and totalitarianism, despair and death” (The New York Times). In Rhinoceros, as in his other plays, Eugene Ionesco startles audiences with a world that invariably erupts in explosive laughter and nightmare anxiety. A rhinoceros suddenly appears in a small town, tramping through its peaceful streets. Soon there are two, then three, until the “movement” is universal. This is not an invasion of wild animals, but a transformation of average citizens into beasts, as they learn to move with the times. As the curtain comes down, only one desperate man remains. Rhinoceros is a commentary on the absurdity of the human condition made tolerable only by self-delusion. It shows us the struggle of the individual to maintain integrity and identity in a world where all others have succumbed to the “beauty” of brute force and mindlessness.
Often called the father of the Theater of the Absurd, Eugène Ionesco wrote groundbreaking plays that are simultaneously hilarious, tragic, and profound. Now his classic one acts The Bald Soprano and The Lesson are available in an exciting new translation by Pulitzer Prize-finalist Tina Howe, noted heir of Ionesco's absurdist vision, acclaimed by Frank Rich as "one of the smartest playwrights we have." In The Bald Soprano Ionesco throws together a cast of characters including the quintessential British middle-class family the Smiths, their guests the Martins, their maid Mary, and a fire chief determined to extinguish all fires -- including their hearths. It's an archetypical absurdist tale and Ionesco displays his profound take on the problems inherent in modern communication. The Lesson illustrates Ionesco's comic genius, where insanity and farce collide as a professor becomes increasingly frustrated with his hapless student, and the student with his mad teacher.
From the award-winning author of the bestselling Library Mouse series comes a biographical picture book about the true story of rhino champion Anna Merz and the black rhinoceros Samia. With a portion of the proceeds being donated to the Lewa Downs Conservancy, this engaging story is perfect for animal lovers, animal rights enthusiasts, and fans of Me . . . Jane. When Anna Merz traveled to East Africa, she became appalled at the rampant poaching that took place there, specifically toward the black rhinoceros. Anna devoted her life to protecting the wildlife of the region, founding a reserve in Kenya called Lewa Downs to care for them. Anna kept a watchful eye on the animals, especially the rhinos. One day, Anna found a small black rhino calf, likely abandoned by its mother. So she nurtured the calf, named it Samia, fed it special formula, and even let it sleep in her bed. Everywhere Anna went Samia was never far behind. The two became so close, in fact, that Anna soon learned how rhinos communicate with one another. Anna was able to distinguish the rhino’s many different grunts and what she meant by them: “Snort! Snuff,” cried Samia (“This is fun!”); “Hoo-hoo-hoo!” she called (“I’m coming!”). But with time, Samia got bigger . . . and bigger . . . and bigger—to the point where she couldn’t fit inside Anna’s house any longer. It was time for Anna to make the tough decision she always knew she would have to make at some point or another: She would need to reintroduce Samia to the wild so she could lead her life with the rest of her kind. Richly illustrated with pen, ink, and watercolors, Daniel Kirk’s first nonfiction picture book brings awareness to wildlife protection and fosters further understanding of animal rescue and welfare, positioned in a sensitive way that’s appropriate for young readers. Kirk traveled to Kenya to see the reserve firsthand and his photographs grace the back matter, which includes an author’s note and bibliography.
