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  We - The book that inspired...

  Yevgeny 'Eugene' Zamyatin

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  In a utopian future society, where all social unrest has been engineered away, a man has an awakening. Starting as a happy worker drone, he meets a woman who reveals to him the reality of life outside the state's control - the glories of chaotic nature in the world and in the heart. They become entwined with a conspiracy against the state, and eventually try to escape beyond the walls of the state's control... only to meet betrayal, failure, and a dark ending in the glorious light of the state's total control. 
  Sound familiar? It's probably because you've read Orwell's nineteen eighty-four, which he wrote eight months after he read We, wrote a review of it, and said he was taking it as the model for his next novel. Or Huxley's Brave New World. 
  Or maybe you've read Vonnegut's Player Piano, which of Vonnegut said he "cheerfully ripped off the plot of Brave New World, whose plot had been cheerfully ripped off from Yevgeny Zamyatin's We". You might even have come across other plays on the theme, such as Ayn Rand's Anthem or Vladimir Nabokov's Invitation to a Beheading, written while Nabakov was reading We. Or even possibly Ursula K. Le Guin's The Dispossessed. 
  The tale is familiar, but the satirical and farcical comedy is a delight all of its own.

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  Richard Burton reads the poetry...

  Thomas Hardy

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  The multi-award winning actor reads the finest work of Thomas Hardy

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  Everlasting Flowers

  D. H. Lawrence

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  LibriVox volunteers bring you 9 different recordings of Everlasting Flowers by D. H. Lawrence.

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  The Watts Towers Project

  Roger Guenveur Smith

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  Smith's edgy and funny The Watts Tower Project focuses on Simon Rodia, the Italian immigrant who spent 33 years building his towers - only to walk away from them, never to return.  Smith blends his own childhood, the life of Rodia, and L.A. history to create a wonderfully eclectic piece.An L.A. Theatre Works performance featuring Roger Guenveur Smith.
  (P)2007 L.A. Theater Works

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  Pericles

  William Shakespeare, Edith Nesbit

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  Pericles, the young Prince of Tyre in Phoenicia. modern day Lebanon, hears the riddle, and instantly understands its meaning: Antiochus is engaged in an incestuous relationship with his daughter. If he reveals this truth, he will be killed, but if he answers incorrectly, he will also be killed. 
  This edition of Pericles is an adaptation of Shakespeare's eponymous drama, narrated in plain modern English, capturing the very essence and key elements of the original Shakespeare's work. This work was adapted by Edith Nesbit.

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  From the Mountain From the...

  James Still

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  “One of our greatest American poets. In particular he has captured the spirit and language of the Appalachian South . . . like no other.” —Lee Smith, New York Times-bestselling author 
   
  James Still first achieved national recognition in the 1930s as a poet. Although he is better known today as a writer of fiction, it is his poetry that many of his essential images, such as the “mighty river of earth,” first found expression. Yet much of his poetry remains out of print or difficult to find. 
   
  From the Mountain, From the Valley collects all of Still’s poems, including several never before published, and corrects editorial mistakes that crept into previous collections. The poems are presented in chronological order, allowing the reader to trace the evolution of Still’s voice. Throughout, his language is fresh and vigorous and his insight profound. His respect for people and place never sounds sentimental or dated. 
   
  Ted Olson’s introduction recounts Still’s early literary career and explores the poetic origins of his acclaimed lyrical prose. Still himself has contributed the illuminating autobiographical essay “A Man Singing to Himself,” which will appeal to every lover of his work. 
   
  “Still’s is the distinctive voice of Appalachia, and we are most fortunate to have his best work in this single beautiful volume.” —Louisville Courier-Journal 
   
  “Still works in traditional lyric forms and with traditional lyric tools. Rarely does a poem need a second page. The best poems are tight and demonstrate a quiet mastery, even a humble virtuosity.” —Journal of Appalachian Studies

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