A short critical essay which considers the significance of the title.

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    By the end of the Second World War, however, the reputation of both novels had grown and Faulkner's great fictional creation, Yoknapatawpha County, had become as much a part of America as any real area of the Mississippi landscape. This "Guide" explores the wealth of critical material generated by these two exceptional works of modernist fiction. From the initially mixed critical responses to the novels in the early 1930s, the "Guide" follows the enormous growth of interest in Faulkner's work across six decades. New writings shaped by a range of critical theories are discussed, offering the reader a clear view of the place now given to one of America's most innovative and influential novelists.

    Someone - or something - is leaving bite marks in the avocados, Clay and Kelly's little daughter has an itch, and Carol can't remember who played Gandhi. This work takes a look at phoney liberal values.

    Now if only she could keep Casey from sneaking into her heart. Excerpt His bright blue eyes pierced through me. I wasn't sure how long he had been looking at me. I ignored him at first, but found it impossible to concentrate on anything else. Eventually I met his gaze evenly, and watched as his lips turned up into a smirk. It took effort not to roll my eyes when he raised his eyebrows slowly. His eyes were burning through me; their intensity made me uncomfortable, but I wasn't going to let him know that. "Mr. Fitzgerald!" my new English teacher, Mr. Oldman, barked. "Could you please at least pretend to pay attention?" Mr. Oldman sounded so exasperated. There were still three months left before graduation, but most of the seniors were already acting as if they didn't need to be in school any longer. "Sure, Mr. Oldman," he said, never taking his eyes from me. I didn't back down even after realizing people were staring at us. "Casey, what do you find so fascinating about Ms. Fuller?" Mr. Oldman turned to him again a few minutes later after realizing he still wasn't paying attention. If it was the teacher's goal to embarrass him, it didn't work. His smirk just widened. "She's new," he said simply, his blue eyes sparkling. Casey's caramel brown hair was messy, his style trendy. He reminded me of every popular guy in high school, except for the confidence he exuded. It was as if he knew he was the shit and was daring anyone to say otherwise. "Casey, will you leave the poor girl alone?" Mr. Oldman sighed. "I've got your letter of recommendation done. Should I send it myself or does it need to go with yours?" Casey didn't respond. His eyes were still piercing through mine, a small smirk playing on his lips. "Casey!" Mr. Oldman yelled, causing both of us to look at him. He handed him a sealed envelope. "Get out of my classroom," he pointed at the door, defeated. "Don't you have friends to bother?" I let out a snicker, though I felt bad for Mr. Oldman. It was obvious he was at his wit's end. Casey seemed to be doing everything he could to push him over the edge. "I'm trying to make the new girl feel welcome," Casey explained, his eyes on me again. I picked up my book, finding my place with ease. "Thanks," I said shortly, "I feel welcome now." And I refused to pay him any more attention. He wouldn't stay with Mr. Oldman in the room, looking dangerously close to pelting him with dry erase markers. With the obvious dilemma before him, he backed down. He stared at me for a second longer, daring me to look at him and when I didn't, he left. I smiled to myself, turning the page leisurely. Mr. Oldman let out a chuckle, "Looks like he's finally met his match."

    The first scene of the play is a conversation between two lovers, Tommy and Donna, who broke up some time earlier but who are obviously still attracted to each other. Donna is enraged because Tommy, a would-be artist, is now having an affair with her younger sister, but Tommy, stretched out on his recliner (which, apart from a refrigerator full of beer, comprises the entire furnishings of his spartan apartment), is seemingly unmoved by her harangue. In the second scene Donna visits her father, a once successful artist who stopped painting at the death of his wife, whom he had bullied and betrayed despite his professed love for her. Combative and complex (but also very funny) the father sits and drinks and eventually gives in to his daughter's demand that he force Tommy to marry her or beat him up. Then, in the third and final scene, the father and Tommy confront each other, with results that are sometimes menacing, sometimes antic, with a lively discussion about art and women eventually leading to a sort of tenuous truce—and a grudging recognition of the responsibility that love, in its various guises, imposes.

    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    The resonance of this image grows through each section of the book as Hahn skillfully employs theme and variation, counterpoint and mirroring techniques. The ibis first appears as part of an illusion, the disappearing object in a magician’s trick, which then evokes the greatest disappearing act of all—death—where there are no tricks to bring about a reappearance. The rich complexity multiplies as the second section focuses on a disappearing lady and a dramatic final section brings together the bird and the lady in their common plight—both caged by their mortality, their assigned time and role.  All of the illusions fall away during this brilliant denouement as the two voices share a dialogue on the power of metaphor as the very essence of poetry. bird trick iv It’s all about disappearance. About a bird in a cagewith a mirror, a simple twiston the handle at the sidethat makes it come and go at the magician’s insistence. It’s all about innocence.It’s all about acceptance.It’s all about compliance.It’s all about deference.It’s all about silence. It’s all about disappearance.

    Banks learns that one of the young men he has seen occasionally about the house is about to become his son-in-law. Daughter Kay announces the engagement out of nowhere. Mrs. Banks and her sons are happy, but Mr. Banks is in a dither. The groom-to-be, Buckley Dunstan, appears on the scene and Mr. Banks realizes that the engagement is serious. Buckley and Kay don't want a "big" wedding just a simple affair with a few friends! We soon learn, however, that the "few" friends idea is out. Then trouble really begins. The guest list grows larger each day, a caterer is called in, florists, furniture movers and dressmakers take over, and the Banks household is soon caught in turmoil.

    She is a successful writer, he is a revered columnist. They have a perfect understanding of each other. Until a pushy young female journalist—on assignment to profile Gus—quite deliberately seeks to undermine that understanding. The fallout is dreadful—but beautifully and convincingly portrayed in all its painful consequences.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    In her hands. A shattering play about one woman’s unspeakable decision. hang premiered at the Royal Court Theatre, London, in 2015, in a production directed by the author, and featuring Marianne Jean-Baptiste, Claire Rushbrook and Shane Zaza.

    He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

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