And Alaska’s mesmeric wilderness has permeated Keenan’s life ever since. A short visit to Fairbanks several years ago was enough to seal his connection with the place, and he resolved to return. He eventually did so with a head full of questions about its inspiring landscape and a heart informed with his own love of the desolate places of the world. In a journey that takes him through four geographical quarters from snowmelt in May to snowfall in September, he discovers a land as fantastical as a fairy tale but whose vastness has a very peculiar type of allure. From dog-mushing on a frozen lake beneath the colors of the aurora borealis to camping in a two-dollar tent in the tundra of the Arctic Circle, from skinning hides with an aging shaman and his wife to boating in the stormy Bering Sea, and along frozen inlets to a remote Eskimo fishing camp, Keenan seeks out the ultimate wilderness experience and connects with a spectrum of wildlife, including his own “spirit bear,” all of them roamers in “The Big Lonely.” En route, he encounters hard-core survivalists who know what struggle and endurance mean from their daily battle for existence. And finally, he discovers that true wilderness is as much a state of mind as it is a place and that ultimately, to make Alaska home, one must surrender to the land.

    The complete Oscar RM -nominated screenplay by the writer/director of Boogie Nights, featuring an exclusive introduction by Anderson, and never-before-published interview in which he discusses the themes and relationships explored in Magnolia, plus a 16-page photo section with 45 color and b&w movie stills and behind-the-scenes photographs.

    She looks at each level and seeks the optimum method for facilitating growth.

    As Michael Smith describes: "Brother Jero is a self-styled 'prophet,' an evangelical con man who ministers to the gullible and struts with self-importance over their dependence on him. The play follows him through a typical day: He acts as kind of tourist guide, displaying himself to the audience, explaining, demonstrating how he manages to live by his wits. He is pursued and cursed by his aged mentor, whose territory he has taken over. He is besieged by a woman creditor who turns out to be the tyrannical wife of his chief disciple. He converts a pompous, painfully timid Member of Parliament with prophecies of a ministerial post. And all day he tries to resist the endless temptation of beautiful women, the play is delightfully picturesque and entertaining." (8 men, 6 women.) THE STRONG BREED. As outlined by Michael Smith: "The play refers to a folk tradition by which one person becomes the 'carrier' of community evil and symbolically purifies the village in an annual ritual. The hero is Eman, a stranger who has come to this particular village to act as teacher and share his education. 'Those who have much to give,' he says, 'must do so in total loneliness.' On the night of the purification ceremony he learns that Ifada, a helpless idiot boy whom he has befriended, has been selected as 'carrier' and victim; and he is driven by compassion to take Ifada's part in the ritual. The crisis brings back memories. We learn that Eman's father was a 'carrier' and that Eman has fled the family tradition of symbolic sacrifice. We also learn of Omae, the young Eman's betrothed, whom he left for many years to pursue his personal destiny and who died soon after his return.Now Eman accepts his past and discovers, 'I am very much my father's son'-one of 'the strong breed' who must take these responsibilities upon themselves-and at the end of the play is caught in a trap at the sacred trees and killed." (12 men, 5 women.)"