Laugh with the actors, tap your feet to the music, and turn to your neighbor.

    In New Orleans in 1937, a man and a woman embark on a headlong flight into the wilderness of illicit passion, fleeing her husband and the temptations of respectability. In Mississippi ten years earlier, a convict sets forth across a flooded river, risking his own chance at freedom to rescue a pregnant woman. From these separate stories Faulkner composes a symphony of deliverance and damnation, survival and self-sacrifice, a novel in which elemental danger is juxtaposed wiht fatal injuries of the spirit. The Wild Palms is grandly inventive, heart-stopping in its prose, and suffused on every page with the physical presence of the country that Faulkner made his own.

    A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else.Is this Shakespeare? Well, sort of.But it doesn't tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. Now, Emma Smith - an intellectually, theatrically, and ethically exciting writer - takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd, the Spielberg and Tarantino of their day; flirting with and skirting round the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex, and the Shakespeare she reveals in this book poses awkward questions rather than offering bland answers, always implicating us in working out what it might mean.

    Kleinman, a logical man in a mad world, is indecisive and insecure; he doesn't want to get involved but everyone is after him to make a choice. He is even accused of being the culprit. When Kleinman confronts the maniac (who looks no different from anyone els