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  Vivienne and the Reaper - The...

  Rachel Lawson

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  originally written as separate poems for contests on allpoetry.com I tacked them together to make this epic the story in verse of the Life and death of Vivienne and the Reaper, Incidentally, the first part is told by the unnamed Jack Taylor who has a bigger part in the later version of Vivienne and the Reaper and appears in my Magicians series as the annoying orderly.

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  Drowning in the Open: A Final...

  Dxtr Spits, Nikki Giovanni

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  Every day, 100 men in the U.S. die by suicide, and many more deal with mental health challenges We are all in our own swimming pools with life's inputs, conditioning, and pressures. Sometimes we are swimming along just fine, and others we may be drowning without anyone realizing (including ourselves). Men's inner struggles often are misunderstood, and there aren't many clear ways to get and accept help. This spoken word album and movement offers a life raft for men to feel heard, get tools to internally "swim", and find community support. It does so while using powerful metaphors to help others to better understand men's internal battles. 
   
  In Nikki Giovanni's final recorded work, she leaves a potent letter to men, your wellbeing matters too. Jordan "Dxtr" Holmes uses his own journey from drowning with his mental health struggles to thriving to bring other men up with him.

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  Mary

  Rona Munro

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  'She made some very poor decisions. You tried to warn her. You love her yet, and that's a credit to you, but you need to think about what's best for Scotland...'
  It's 1567. James Melville is an intelligent, charismatic and skilled diplomat – and also one of the most loyal servants of Mary Stuart, the troubled Queen of Scots. It's a time of political turmoil, and the shocking crimes he has witnessed have shaken him.
  Now he needs to decide who's guilty, who's innocent, and who is too dangerous to accuse. Change is coming, but at what price?
  Mary is an explosive political thriller, and part of Rona Munro's breathtaking theatrical exploration of Scottish history. It is the sixth instalment of The James Plays Cycle which began with James I, II and III, performed by National Theatre of Scotland, including a run at the National Theatre in London, and which won the Evening Standard and Writers' Guild of Great Britain Awards in 2014, and James IV, co-produced by Raw Material and Capital Theatres in association with National Theatre of Scotland, in 2022.
  Mary received its world premiere at Hampstead Theatre, London, also in 2022, directed by Roxana Silbert.

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  'Look Back to Look Forward' -...

  Frank O'Connor

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  While Frank O'Connor was known primarily as one of Ireland's finest short-story writers, he was also an accomplished translator. In the long line of Irish writers given to translating poems in Irish into poems written in English – a tradition stretching back at least as far as Jonathan Swift – he stands out above all the rest.
  Between the mid-1920s and the mid-1960s, O'Connor published 121 translations that give voice to the full range of this centuries-old tradition. Collected here in full for the first time, O'Connor's work shows an uncanny aptitude for carrying over into English verse many of the riches to be found in the originals – the ancient voice of the Hag of Beare lamenting her decline into old age; the voices of the early monks describing the Irish landscape, Irish weather, their religious faith, and, in at least one instance, their cat; the voice of Hugh O'Rourke's wife torn between loyalty to her husband and a rising desire for her seducer. All these voices haunted O'Connor throughout his career, whatever else he was doing. The collection includes the Irish-language sources for all 121 translations along with literal translations, enabling the reader to see what O'Connor started from.
  O'Connor's translations sprang from a compulsive desire to breathe life into Ireland's past, to 'look back to look forward,' as he once put it; for him the Irish-language tradition was not for scholars and archives alone, but formed a living body of work vitally relevant to an Ireland that seemed puzzlingly indifferent to it.
  Thanks to O'Connor's profound love of his country's language and its rich, literary subsoil – 'a literature of which no Irishman need feel ashamed', he once said – these voices from Ireland's past can still be heard. Strikingly modern in tone, they conjoin flesh and spirit, the sacred and the secular, in a way that speaks to humankind.

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  Shakespeare Monologues...

  William Shakespeare

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  LibriVox readers present the second collection of monologues from Shakespeare’s plays. Containing 15 parts.  William Shakespeare (April 26, 1564 – April 23, 1616) remains widely to be considered the single greatest playwright of all time. He wrote in such a variety of genres - tragedy, comedy, romance, &c - that there is always at least one monologue in each of his plays. Some of these teach a lesson, some simply characterize Shakespeare at his best, some are funny, some sad, but all are very moving. Each monologue will touch everybody differently. Some people will be so moved by a particular monologue that they will want to record it. (Summary by Shurtagal).

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  In the Night Field

  Cameron McGill

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  "All fire and surprise, sadness and forgiveness...I could never say enough about the beauty of this work." —Jericho Brown 
  "Cameron's poems are wonderfully full, energetic, and ardent." —Vijay Seshadri 
  "McGill skillfully navigates the mysteries of relationship, memory, and regret as the best poets do." —Dorianne Laux 
  "It’s been a long time since I have heard the 'god of small thunder' echo so powerfully in a collection." —Campbell McGrath 
  Cameron McGill’s debut collection of poetry, In the Night Field, spotlights the effects of memory: its startling artistry, varied discontents, and casual fallibility. These poems chart the complex relationship between mental health and place; the difficult paths home can be lonely and circuitous, the emotional coordinates we map along the way a reminder of those intimate regions that hold and haunt us. These can be isolating passages, but are just as often fertile: “I walk further each day toward the strange / austerity my heart makes of reason.” Between the attentive, persistent self and the longed-for, absent other arises a fragmented conversation, an exchange that’s in a constant state of arrival. As McGill shows us, memories are a corrective, carrying back to us occasions for instruction, reconciliation, or in those astonishing flashes of clarity, what again hopes to be loved.

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