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On the stage of an elementary school auditorium, Chloe, Ryan, Juan and Hannah are participating in their school spelling bee. During the event, they discuss their strategies and fears via humorous word play (including homophones, oxymorons, rhyme, and knock-knock jokes).
SHAW 18 offers fourteen articles that illuminate aspects of Shaw's family history, relations with contemporaries, evolving reputation, and dramatic works. Dan H. Laurence presents an authoritative genealogy of the Shaw and Gurly sides of Shaw's family. Among discoveries that have long eluded Shaw's biographers is the birthdate of Elinor Agnes "Yuppy" Shaw, Shaw's sister. Michael W. Pharand assesses Shaw's intense dislike of Sarah Bernhardt. Stanley Weintraub analyzes Shaw's presence in the plays of Eugene O'Neill. Shaw's Advice to Irishmen, a newspaper account of Shaw's 1918 Dublin lecture "Literature in Ireland," records Shaw's comments on George Moore, J. M. Synge, and James Joyce. Robert G. Everding surveys Shaw festivals from 1916 in Ireland to the present-day Shaw festivals in Ontario and Milwaukee. In a review of Frank Harris on Bernard Shaw (1931), Richard Aldington dismisses Shaw as human being, thinker, and dramatist: "You must be a Shavian to admire and love Shaw the artist." In an interview with Leon Hugo, biographer Michael Holroyd discusses his biography of G.B.S., responses to his biography, and future work involving G.B.S. Jeffrey M. Wallmann argues that alienation in Shaw's plays enhances their contemporary value. Bernard F. Dukore investigates Shaw's reasons for discarding the original final act of The Philanderer. Rodelle Weintraub argues persuasively that You Never Can Tell requires the audience to choose between "Crampton's reality" and "Crampton's dream." Mark H. Sterner, weighing the various charges against Ann Whitefield's character in Man and Superman, concludes that Shaw's treatment of her and Tanner "as significantly different, but nevertheless equal . . . in itself was a revolutionary change in the status of sexual power relationships." Julie A. Sparks identifies W. W. Henley's sonnet "'Liza" as a likely source not only for some of Eliza's traits in Pygmalion but also for images in Man and Superman and Major Barbara. Charles A. Carpenter considers Buoyant Billions and Farfetched Fables in the context of Shaw's response to the birth of the atomic age. Paul Bauschatz, evaluating the differences between My Fair Lady and Pygmalion, illustrates why the film can reflect Shaw's play "only uneasily." SHAW 18 includes five reviews of recent additions to Shavian scholarship as well as John R. Pfeiffer's "Continuing Checklist of Shaviana."
The second edition "If you want to keep a secret, you must also hide it from yourself." ― George Orwell, 1984... Eir, "Heirloom" O'Casey was the female teen oddball of Schenectady, ignored and whispered of, only a shadow, a strange wraith of salient otherworldly sensitivity. Although brilliant and alluringly, athletically beautiful, her odd, antiqued character demeanor and clothed appearance, along with her super-shyness seemed to her to be the cause for the estrangement from her peers...so it strangely seemed. Yet her little forgotten life, her book was far more than just its cover even if no one noticed, and had been that way for so many years...until the mysterious, enigmatic, noble and handsome new student Imre Himmel showed up, changing her little cloistered and invisible existence to one of epic proportions in a mere two weeks time, opening the door to so many supernatural and other hidden treasures she dare not mention. Popular heartthrob Tony Cosentino, the brash leader of the school who had known Eir since kindergarten wasn't too happy about any of it, at all...and vowed to do something about it and Imre if it almost even... killed someone. He had to. Everything was at stake, everything he knew, and didn't know, for far odder, twisted truths lay where he poked and prodded. And so it began... one by one, the peculiar, startling coincidences, the strange recollections and even stranger abilities, and the lurking, hidden danger that started to unfold a deep, dark, despairing secret hidden for ages that involved them all...
6th Updated and expanded Edition: The thrilling, tormented conclusion to SARDOODLEDOM: The Broken Rule: It was almost eight months later, after the harrowing, deadly, shocking incident that changed all of Eir, Tony and Imre's lives in an instant; Resilient and brilliant, the young beauty Eir stumbles upon a fated cryptic message from the missing, abducted, enigmatic princely Imre, her true love. This leads to an unexpected trip for Eir and the now non-tyrant turned Templar Tony, for cagey, suave Tony knows much more about it than Eir or anyone else was aware of, and has darkly vowed to fix it all; and his now torrid feelings are running rampant; he has held it only to himself in obscurity until now, for soon it will all come spilling forth with another jarring, supernatural, mystic, arcane clue; to figure out just how and when to find and rescue ransomed Imre, who has secretly, courageously been praying they discover what aid and romantic pledges he has left for them before their terrible, tangled web of their veiled family ensnares and destroys them all, and which he is discovering more and more hidden, horrid truths about, as well as...newly founded family members since his enforced incarceration by his true Father. Can he and Tony surmount the festering wounds of their hidden, unspoken of past? Can they all free themselves from the dynamited danger of their now known other nefarious family members? Will Eir and Tony be able to find and emancipate the captive, cornered Imre? Shocking clues from their long-deceased ancestry come to them eloquently written as well as a haunting, specter-figured form... Read on and find out...
Open The Cabinet of Linguistic Curiosities and you’ll find both a word and a day to remember, every day of the year. Each day has its own dedicated entry, on which a curious or notable event—and an equally curious or notable word—are explored. On the day on which flirting was banned in New York City, for instance, you’ll discover why to “sheep’s-eye” someone once meant to look at them amorously. On the day on which a disillusioned San Franciscan declared himself Emperor of the United States, you’ll find the word “mamamouchi,” a term for people who consider themselves more important than they truly are. And on the day on which George Frideric Handel completed his 259-page Messiah after twenty-four days of frenzied work, you’ll see why a French loanword, literally meaning “a small wooden barrow,” is used to refer to an intense period of work undertaken to meet a deadline. The English language is vast enough to supply us with a word for every occasion—and this linguistic “wunderkammer” is here to prove precisely that. So whatever date this book has found its way into your hands, there’s an entire year’s worth of linguistic curiosities waiting to be found.
