Otros libros que te pueden interesar

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  Caesar and Cleopatra

  George Bernard Shaw

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  Caesar and Cleopatra, a play written in 1898 by George Bernard Shaw, was first staged in 1901 and first published with Captain Brassbound's Conversion and The Devil's Disciple in his 1901 collection, Three Plays for Puritans. It was first performed at Newcastle upon Tyne on March 15, 1899. London production was at the Savoy Theatre in 1907. Shaw wants to prove that it was not love but politics that drew Cleopatra to Julius Caesar. He sees the Roman occupation of ancient Egypt as similar to the British occupation that was occurring during his time. Caesar understands the importance of good government, and values these things above art and love. (Summary by Wikipedia)Cast list:Belzanor/First Auxilliary:  ScottMolsonThe Persian/Second Auxilliary: ChuckWThe Sentinel/Soldier/Roman Soldiers:  silverquillVoice/The Newcomer - Bel Affris/First Porter:  Rick RodstromThe Guardsmen/Second Porter:  Algy PugThe Women/A Woman/Charmian:  glorianaFtatateeta:  CaprishaPageThe Nubian Sentinel/Third Porter/Musician:  LibbyGThe Man - Caesar:  neustarThe Girl - Cleopatra:  JoFriday21Pothinus:  professorrctTheodotus/The Official:  AmateurOzmologistAchillas/Fourth Porter/The Second Official:  beeberRufio:  jondalar1988Britannus:  gmprzywaraThe Bolder Courtiers/All the courtiers/Major-domo:  Algy PugLucius/Boatman:  engineerdstA Centurion:  GmanNubian/Nubian Sentinel/Apollodorus:  ToddHWPtolemy:  VperIras:  DrDawnDuncanNarrator:  DSayersEdited By:  ToddHWCoordinated By:  Algy Pug

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  Selected Interviews with Robert...

  Robert G. Ingersoll

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  A controversial lecturer, brilliant lawyer, and arguably the most famous orator of the mid to late 1800's, Ingersoll railed against the absurdities of the Bible and cruelties of Christianity, particularly the horrific notion of "eternal damnation". He tirelessly supported the arts, education, science, women’s rights, abolition, home, family, children, and human liberty. As a leader of the Freethought movement, his creed was: “Happiness is the only good, Reason the only torch, Justice the only worship, Humanity the only religion, and Love the only priest.” He was often attacked in the press. Here are 30 published interviews in which Ingersoll spoke extemporaneously, bitingly, sometimes hilariously, on a wide range of topics with newspaper reporters of the day. (Compiled from The Works Of Robert G. Ingersoll, Volume 8, Dresden Edition, Pub. 1900. Summary by Michele Fry

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  Much Ado About Nothing

  William Shakespeare

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  Much Ado about Nothing is generally considered one of Shakespeare's best comedies, because it combines elements of robust hilarity with more serious meditations on honor, shame, and court politics.
  
  The play includes two quite different stories of romantic love. Hero and Claudio fall in love almost at first sight, but an outsider, Don John, strikes out at their happiness. Beatrice and Benedick are kept apart by pride and mutual antagonism until others decide to play Cupid.
  An Author's Republic audio production.

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  As We Know - Poems

  John Ashbery

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  Dating from one of the most studied creative periods of John Ashbery’s career, a groundbreaking collection showcasing his signature polyphonic poem “Litany” First published in 1979, four years after Ashbery’s masterpiece Self-Portrait in a Convex Mirror, the poems in As We Know represent the great American poet writing at the peak of his experimental powers. The book’s flagship poem, the seventy-page “Litany,” remains one of the most exciting and challenging of Ashbery’s career. Presented in two facing columns, the poem asks to be read as independent but countervailing monologues, creating a dialogue of the private and the public, the human and the divine, the real and the unreal—a wild and beautiful conversation that contains multitudes. As We Know also collects some of Ashbery’s most witty, self-reflexive interrogations of poetry itself, including “Late Echo” and “Five Pedantic Pieces” (“An idea I had and talked about / Became the things I do”), as well as a wry, laugh-out-loud call-and-response sequence of one-line poems on Ashbery’s defining subject: the writing of poetry (“I Had Thought Things Were Going Along Well / But I was mistaken”). Perhaps the most admired poem in this much-discussed volume is “Tapestry,” a measured exploration of the inevitable distance that arises between art, audience, and artist, which the critic Harold Bloom called “an ‘Ode on a Grecian Urn’ for our time.” Built of doubles, of echoes, of dualities and combinations, As We Know is the breathtaking expression of a singular American voice.

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  Evangeline

  Henry Wadsworth Longfellow

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  Evangeline is one of Longfellow’s most popular poems and was once a great favorite with the American people. For many years almost every school child studied this poem during the middle school years. Although the decline of the reputation of the once-idolized poet has also brought neglect to this classic, it is still a very touching and expertly written work of art. It is based upon the tragic expulsion of the French settlers from Acadia (located in the Canadian maritime provinces) during the French & Indian War (1754-1763). Many Acadians died as a result of their exile, and many families were separated, including the heroine of this poem and her betrothed. Although she is a fictional character, statues of her and other memorials exist in Nova Scotia and other places now inhabited by descendants of the Acadians, later frequently known as “Cajuns.” (Introduction by Leonard Wilson)

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  The Wrecking Light - Poems

  Robin Robertson

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  Shortlisted for the T.S. Eliot Prize, the Scottish poet’s fourth collection shimmers with “an oneiric charge and intensity” (Guardian, UK). 
   
  The Wrecking Light is an intense, moving, bleakly lyrical, and at times shocking book. These poems are written with the authority of classical myth, yet sound utterly contemporary. The poet’s gaze—whether on the natural world or the details of his own life—is unflinching and clear, its utter seriousness leavened by a wry, dry, and disarming humor. 
   
  Alongside fine translations from Neruda and Montale and dynamic retellings of stories from Ovid, the poems here pitch the power and wonder of nature against the frailty and failure of human beings. This is a book of considerable grandeur and sweep that confirms Robertson as one of the most arresting and powerful poets at work today.

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