Altri libri che potrebbero interessarti

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  Deceptive Calm

  Patricia Skipper

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  Against the turbulent backdrop of declared martial law in South Carolina, a stunning light-skinned beauty, Vanessa, lives in a Catholic orphanage for Blacks. After a series of racial traumas, Vanessa obtains the birth certificate of a deceased white baby and uses this document to assume the child's identity. She moves to California and enrolls at UC Berkeley under her newly acquired name. 
  Vanessa marries into one of California's wealthiest families. Her charmed life abruptly ends eighteen months after the birth of her first child who is diagnosed with sickle cell trait. Discovering that the woman he married is Black, as is his toddler son, Vanessa's ruthless husband plots his revenge but they both survive. The police investigation that follows seems pretty clear-cut until a curious, young detective uncovers some clues to her private life where nothing is as it appears. The aftermath of the discovery brings down a pillar of San Francisco society.

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  Orlando - (stage version)

  Virginia Woolf

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  'Nothing is any longer one thing.'
  From a teenage encounter with Elizabeth I, through infatuations, voyages and even a change of gender, Orlando lives out five centuries of life and love before they finally find the courage to truly be themselves.
  Neil Bartlett's sparkling adaptation of Virginia Woolf's famous fantasy finds powerful contemporary relevance in her vision of equal rights to love for bodies of every kind – and brings it to life on the stage with a kaleidoscope of theatrical styles, overseen by the haunting figure of Woolf herself.
  It premiered at the Garrick Theatre in London's West End in November 2022, in a production directed by Michael Grandage and starring Emma Corrin in the title role. Written for a diverse ensemble of nine or more actors, this adaptation will appeal to any theatre or company looking to entertain their audiences with a bold new take on this iconic tale of love and transformation.

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  Top 10 Poets – England The - The...

  William Cowper, Amelia Opie,...

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  The language of Poetry is an art that most of us attempt at some point in our lives.  Although its commonplace exposure has been somewhat marginalised in today’s often fast-paced lives we all recognise good verse that can empathise with our thoughts or open us up to experience new things in new ways, to better understand and to enjoy the many strands of our lives. 
  But finding a starting point can be overwhelming, even off-putting, so in this series we offer up our Top 10 classic poets, who brim with talent and verse, on a range of subjects and themes that we can all enjoy. 
  For centuries England has always had a leading and admired reputation for its poets and poetry.  In this volume we explore those born in the East of England who created such revered, enduring and respected verse.

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  Please make me pretty I don't...

  Tawanda Mulalu

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  The debut collection of an exciting new voice in poetry 
   
   
   
  Please make me pretty, I don't want to die explores tactility, sound, sensuality, and intimacy. Set across the four seasons of a year, these fresh and original poems by Tawanda Mulalu combine an inviting confessional voice and offbeat imagery, and offer an appealing mixture of seriousness and humor. 
   
   
   
  The speaker of these poems probes romantic and interracial intimacy, the strangeness and difficulty of his experiences as a diasporic Black African in White America, his time working as a teacher's assistant in a third-grade classroom, and his ambivalent admiration for canonical poets who have influenced him, especially Sylvia Plath. Juxtaposing traditional forms such as sonnets and elegies with less orthodox interjections, such as prose-poem "prayers" and other meditations, the collection presents a poetic world both familiar and jarring—one in which history, the body, and poetry can collide in a single surprising turn of image: "The stars also suffer. Immense and dead, their gasses burn / distant like castanets of antebellum teeth. My open window / a synecdoche of country."

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  I'm Sorry Here's a Plasma Rifle...

  Aaron N. Hall

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  SENT BACK FROM THE YEAR 2124, I’m Sorry, Here’s a Plasma Rifle is the last known work of author Aaron N. Hall before his tragic jet ski accident with a shipping container of rubber ducks. 
  It contains seven short stories, eighteen poems, and four pastry recipes that highlight his affection for fantasy, science fiction, and the endearingly odd. 
  The current edition has been republished including the notes of Dr. Arthur B. Salazar, who sent the book from the future before being cryogenically frozen and launched into space prior to Earth’s decay. 
  Listen, enjoy, then say hello to the void.

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  Catastrophic Molting

  Amy Shimshon-Santo

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  CATASTROPHIC MOLTING (FlowerSong Press) Amy Shimshon-Santo uses the tools of language to remind readers there is power in repudiation, comfort in collective mourning, and possibility in reimagining. The book title is inspired by the molting ritual of sea elephants (Mirounga Angustirostris) along the California coast. The mirounga rest together on the shore as social protection from violence when they are the most vulnerable. Only through these periods of dramatic change can they grow sleek new coats. The book’s journey begins with “Contagion,” revealing a world split in half like a calabash by a virus. “Beating, trembling,” a woman pleads for mercy while the poems confront the liminality of profound change. “A new cycle had begun / I would never be the same again.” The second section, Sangue, gives voice to mourning and rage. “when you murder the future of music / you are conjuring extinction.” Dysfunction on planet Earth reverberates from the street into the expansive galaxy. Refusing to normalize violence, the poet gathers war inside her own body to detonate it, then blows “tsunami-wind / to rattle clear the desks.” With the verve of Oya, the goddess of ancestral and radical change, the book claims ground for empathy and inter-being. The collection asks readers to imagine: “what if we were a part of a whole / that loved us without ceasing?” Catastrophic Molting breaks from inertia and seeks new ground. Our “foremothers greet the unborn” and are “betrothed to a story that doesn’t wish us dead.” Shimshon-Santo suggests that “stepping off might actually be, stepping in / turning away might actually be, turning toward.”

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