Outros livros que poderiam interessá-lo

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  A Good House

  Amy Jephta

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  'Once they've been here long enough, they're no longer squatters. Then they're simply…
  Neighbours.'
  In the quaint suburban community of Stillwater, a mysterious shack springs up from the dust with the inhabitants nowhere to be seen. As speculation abounds, new residents Sihle and Bonolo are recruited by their neighbourhood to be the face of a campaign to demolish the shack.
  Funny, thrilling and provocative, Amy Jephta's play A Good House is an explosive exploration of race, resentment and community politics, about a couple who discover the limits of good neighbourliness and what is required to fit in.
  It was first performed at the Royal Court Theatre, London, in 2025, directed by Nancy Medina, in a co‑production with Bristol Old Vic in association with The Market Theatre, Johannesburg.

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  Locked Box The: Part 1 - The...

  Karen Danzey, Christie Glascoe

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  As the weight of her trauma grew heavier, Sophia Jones grappled with the stigma of sexual assault. She suffered in silence, she lost faith in humanity and she lost her faith in God. Although she was raised to believe that God sees and knows it all, she wondered where was God when her predators took her body against her will. Will Sophia Jones seek justice to quench the pain of her trauma or will her faith be restored and surrender to the God she felt abandoned her when she needed Him most?

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  Mother | Line

  Ankita Saxena

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  What do we inherit from our mothers? From our grandmothers? From the legacy of colonisation and empire? Mother | Line, Ankita Saxena's debut poetry collection, charts lineage in all its forms, delving into female rage, compassion, and endurance. Drawing on the author's British Asian heritage and experiences growing up as a woman in an increasingly violent world, this collection weaves together the personal and the political in ghazals, odes and specular poems, which hold a mirror to the world and to themselves. "We are daughters of Kali", Saxena writes, and "mothers linger on the sides, hearing us become them; / our routines only theirs to thank for, our spices, / our blends, and even our greedy tongues.
  "A sublime and considered collection, speaking to, and spanning lineage, inheritance, friendship; what it can mean to be a girl, a woman in the world — across continents, oceans, time." - Rachel Long

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  The Raven

  Edgar Allan Poe

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  "Quoth the Raven, 'Nevermore.'"
  
  On a "bleak December" midnight, a weary student seeks refuge from his sorrow in ancient books, only to be interrupted by a mysterious tapping at his chamber door. What follows is a dark, psychological tug-of-war between a man paralyzed by the loss of his beloved Lenore and a "stately Raven" that perches atop a bust of Pallas. Through hypnotic rhythm and internal rhyme, Poe captures the precise moment when melancholy turns into incurable despair. The bird's singular, repetitive refrain becomes a mirror for the narrator's own self-torture, transforming a simple midnight visit into a timeless symbol of the human struggle with the finality of death.
  
  Poe famously wrote an essay, "The Philosophy of Composition," detailing how he meticulously crafted this poem to achieve a "unity of effect." Every element, from the choice of the raven as a "bird of ill omen" to the trochaic octameter of the verses, was designed to build a crescendo of dread.
  
  The Raven perches upon the bust of Pallas Athena (the goddess of wisdom), symbolizing the triumph of irrational grief over reason. By the poem's end, the narrator's soul is trapped within the shadow of the bird, signifying that for some types of grief, there is no escape and no "balm in Gilead."
  
  The Raven made Poe a household name almost overnight. Its musicality makes it one of the most effective pieces for oral recitation, while its psychological depth continues to fascinate scholars and horror fans alike. It is the definitive expression of the "Dark Romantic" movement—a beautiful, terrifying look at a heart that refuses to heal.
  
  Open the door to the shadows. Purchase "The Raven" today.

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  Time For My Generation To DIE

  E.D. Evans

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  Imagine finding a dusty, water-stained journal in an abandoned subway station before realizing it was written 20 years in the future. No robot maids or air cars, just capital L, “Life,” through X-ray specs, and don’t hold the band-aid ripping or bemused outrage. There are a thousand novels herein. (Buddy Woodward) Time for My Generation to DIE from poet and balladeer E.D. Evans takes no prisoners. Evans uses her sparkling, prickly verse to pluck out mournful, bleak, and violent tableaus. Each of her poems—Ballad or not—Is deserving of a hard-strummed guitar and some harmonica across the bridge. This is distilled country and southwestern, sans redemption, sans chaser.(Sean McCollum) Here we will find necessary truths—Honest evidence of a transformative journey, amusing and disturbing, disarming with a hip, wry wit of personal insight. A reminder of poetry as event, where you will find your lips mouthing the vowels. A nod, and a wink never too far behind, Evans’ artistry holds your hand through the odyssey and the rhyme.(Henry Long) Pssssst! Hey, You, Yes… YOUR Generation (whichever that may be). Are you looking for:Saccharin love sonnets? Maudlin two-line musings? Droning co-opted hip hop lyrics? - You won't find that here. Do you desire:Trite overbaked sentiment? Foolish masturbatory banter? Inscrutable word salad? - You won't find that here. What you WILL find here is an epitaph, of sorts, laced with:Dark humor, Snide observations, Stark realism, Morbid landscapes, Gamblers and junkies & Punks and thugs. An epitaph for MY forgotten generation - Generation Jones - who:Relish obscure banalities, Prefer pencil on paper, Revel in audacious irony and Eschews ‘the good old days’. It’s no longer time for any of these things.It’s simply:… Time for my Generation to Die. E.D. Evans is a lifelong poet. Having spent time in both London and New York during Punk’s original heyday in the late ‘70s and early ‘80s...

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  Miss Julie & The Stronger

  August Strindberg

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  Two of the most influential and early feminist plays to have ever graced the stage, we have have Miss Julie and The Stronger. 
  Miss Julie is a one act tragedy that finds itself in a similar vein as Henrik Ibsen's "Hedda Gabbler" and "A Doll's House," in which the main woman of the play (Miss Julie) tries to take hold of her own destiny and break away from the system that has failed to meet her needs, but is unable (or unwilling) to see the consequences of her own actions--a desperate cry for legitimacy to a society that seems indifferent to her struggle. 
  The Stronger, in comparison, is a ten minute play about the fallout of such a decision, and confronting that catalyst many years later--a contemplation on the manipulation of thought (both of the main character and the object of her insecurities) and the forgetfulness of coping.

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