The crypt of Wawel Cathedral in Kraków is the Polish nation’s greatest pantheon. Here lie the earthly remains of its storied kings and queens, and two of its greatest poets, Adam Mickiewicz and Juliusz Słowacki. At the conclusion of his speech at Słowacki’s reburial in 1927, Marshal Józef Piłsudski commanded the guard of honour: “In the name of the Republic, I direct you, gentlemen, to carry this sarcophagus into the royal crypt, for he who rests within was no less a king.”
Słowacki, who once described himself and Mickiewicz as “two gods, on their own, opposing, suns” has rested alongside his great rival now for over ninety years. Although generally regarded as an eternal second to the national bard Mickiewicz, Słowacki is a great poet in his own right. Had Mickiewicz, who undoubtedly influenced him, never existed, Juliusz Słowacki would still have become an important European poet — especially as far as drama is concerned.
The recognised creator of the modern traditions of Polish playwriting, Słowacki holds a position second to none in the creation of original plays in the style of Shakespeare — that darling of the European Romantics — whom many poets of Europe emulated and imitated, while never reaching the facility with the Shakespearean idiom achieved by Słowacki. What is even more striking is the fact that Słowacki achieved this high level of quality at a very early age.
The dramas in Glagoslav’s edition of Four Plays include some of the poet’s greatest dramatic works, all written before age twenty-five: Mary Stuart, Balladyna and Horsztyński weave carefully crafted motifs from King Lear, Macbeth, Hamlet and A Midsummer Night’s Dream in astoundingly original works, and Kordian — Słowacki’s riposte to Mickiewicz’s Forefathers’ Eve, constitutes the final word in the revolutionary period of Polish Romanticism. Translated into English by Charles S. Kraszewski, the Four Plays of Juliusz Słowacki will be of interest to aficionados of Polish Romanticism, Shakespeare, and theatre in general.
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“I'm done hurting her. She's been hurt enough. It's time I set her free...”
Once upon a time, I wished to go home and forget.
Now, I’m strong and ready to fight.
Seduced and claimed, Elder no longer just demands my voice, he commands me to be a thief like him.
But he offers me things I shouldn’t want, favours I should run from.
In return for his protection, I’m ordered to steal enough pennies and dollars to buy back my freedom.
Only, we both aren’t prepared for how he changes me, evolves me.
And now, it’s my turn to learn about him.
Book 3 in the USA Today Bestselling Romance, Dollar Series
The Birds was different from most of Hitchcock's work.
For admirers of Hitchcock, The Birds also raises disturbing questions about the director as a person. He was a complex and confusing character in many ways, and perhaps it's not surprising that someone who built a career out of creating suspense and fear on-screen might also have had some darker sides to his personal life.
Beyond the details of the story and how it came to be filmed, though, one of the most interesting questions about The Birds is why Hitchcock made it in the first place. It took its title from a short story by English author Daphne du Maurier, but beyond the basic idea of people being attacked by birds, it didn't take much else from it. The storyline was pure Hitchcock. So where did it come from?
It turns out that his inspiration was a strange and alarming incident that happened just a few miles from his home in California.
This book uncovers the truth behind the plot as well as other factoids that fascinate any fan of the film.
For movie buffs Alfred Hitchcock will always be associated with a long list of Hollywood classics. Between 1921 and 1976 the English director known as the Master of Suspense released 52 feature films, many of which are still thrilling new audiences today. To most people, though, he's best known for a film that was very different – Psycho.
The most fascinating part of the movie, however, is actually the real story behind it. This book tells the chilling true story behind of the movie.
The fight for racial equality in the nineteenth century played out not only in marches and political conventions but also in the print and visual culture created and disseminated throughout the United States by African Americans. Advances in visual technologies--daguerreotypes, lithographs, cartes de visite, and steam printing presses--enabled people to see and participate in social reform movements in new ways. African American activists seized these opportunities and produced images that advanced campaigns for black rights. In this book, Aston Gonzalez charts the changing roles of African American visual artists as they helped build the world they envisioned.
Understudied artists such as Robert Douglass Jr., Patrick Henry Reason, James Presley Ball, and Augustus Washington produced images to persuade viewers of the necessity for racial equality, black political leadership, and freedom from slavery. Moreover, these activist artists' networks of transatlantic patronage and travels to Europe, the Caribbean, and Africa reveal their extensive involvement in the most pressing concerns for black people in the Atlantic world. Their work demonstrates how images became central to the ways that people developed ideas about race, citizenship, and politics during the nineteenth century.
A visionary work of radical empathy.
Known for immersion journalism that is more immersed than most people are willing to go, and for a prose style that is somehow both fierce and soulful, Jeff Sharlet dives deep into the darkness around us and awaiting us.
This work began when his father had a heart attack; two years later, Jeff, still in his forties, had a heart attack of his own. In the grip of writerly self-doubt, Jeff turned to images, taking snapshots and posting them on Instagram, writing short, true stories that bloomed into documentary. During those two years, he spent a lot of time on the road: meeting strangers working night shifts as he drove through the mountains to see his father; exploring the life and death of Charley Keunang, a once-aspiring actor shot by the police on LA’s Skid Row; documenting gay pride amidst the violent homophobia of Putin’s Russia; passing time with homeless teen addicts in Dublin; and accompanying a lonely woman, whose only friend was a houseplant, on shopping trips.
Early readers have called this book “incantatory,” the voice “prophetic,” in “James Agee’s tradition of looking at the reality of American lives.” Defined by insomnia and late-night driving and the companionship of other darkness-dwellers—night bakers and last-call drinkers, frightened people and frightening people, the homeless, the lost (or merely disoriented), and other people on the margins—This Brilliant Darkness erases the boundaries between author, subject, and reader to ask: how do people live with suffering?
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