All The World S A Grave

An epic tragedy of love, war, murder, and madness, plucked from the pages of Shakespeare In All the World’s a Grave, John Reed reconstructs the works of William Shakespeare into a new five-act tragedy. The language is Shakespeare’s, but the drama that unfolds is as fresh as the blood on the stage. Prince Hamlet goes to war for Juliet, the daughter of King Lear. Having captured Juliet as his bride—by reckless war—he returns home to find that his mother has murdered his father and married Macbeth. Enter Iago, who persuades Hamlet that Juliet is having an affair with Romeo. As the Prince goes mad with jealousy, King Lear mounts his army. . . This play promises to be the most provocative and entertaining work to be added to the Shakespeare canon since Tom Stoppard’s Rosencrantz and Guildenstern Are Dead.

An epic tragedy of love, war, murder, and madness, plucked from the pages of Shakespeare In All the World’s a Grave, John Reed reconstructs the works of William Shakespeare into a new five-act tragedy. The language is Shakespeare’s, but the drama that unfolds is as fresh as the blood on the stage. Prince Hamlet goes to war for Juliet, the daughter of King Lear. Having captured Juliet as his bride—by reckless war—he returns home to find that his mother has murdered his father and married Macbeth. Enter Iago, who persuades Hamlet that Juliet is having an affair with Romeo. As the Prince goes mad with jealousy, King Lear mounts his army. . . This play promises to be the most provocative and entertaining work to be added to the Shakespeare canon since Tom Stoppard’s Rosencrantz and Guildenstern Are Dead.

From cradle to grave Juliette Sanders has her life planned out. Penn State to the Supreme Court. No surprise she’s got this plan. RBG is her hero, after all. So why is it that a letter from a grandmother she has never met—never even knew she existed—has flipped everything upside down. Vivienne Montreuil’s letter is an invitation to visit her at the Montreuil Magnolia House near New Orleans, Louisiana. How exciting, amirite? Except that there’s this thing that Juliette’s family does. Magic. And supposedly Juliette can do magic. Say what? No way, no how. And yet…Now Juliette knows about her biological mother—and father, a renowned necromancer—and she decides to visit the Crescent City Academy of Magics, you know, just to see what it’s all about. She’s not giving up on Penn State. She’s not abandoning her wish to follow RBG’s footsteps. She’ll just stay at Crescent City for a couple of weeks. That’s all. And she’s got a great—temporary—roommate, Naomi, who’s willing to show her the ropes. How did things get so complicated when she runs into a hot wolf shifter named Jackson Walsh? She’s not staying at Crescent City. No, she’s not. It’s not in the plans. No. No. No. Except… Maybe it is.

Like many men of his generation, poet Robert Graves was indelibly marked by his experience of trench warfare in World War I. The horrific battles in which he fought and his guilt over surviving when so many perished left Graves shell-shocked and disoriented, desperately seeking a way to bridge the rupture between his conventional upbringing and the uncertainties of postwar British society. In this study of Graves's early poetry, Frank Kersnowski explores how his war neurosis opened a door into the unconscious for Graves and led him to reject the essential components of the Western idea of reality—reason and predictability. In particular, Kersnowski traces the emergence in Graves's early poems of a figure he later called "The White Goddess," a being at once terrifying and glorious, who sustains life and inspires poetry. Drawing on interviews with Graves's family, as well as unpublished correspondence and drafts of poems, Kersnowski argues that Graves actually experienced the White Goddess as a real being and that his life as a poet was driven by the purpose of celebrating and explaining this deity and her matriarchy.

The writer and poet Robert Graves suppressed virtually all of the poems he had published during and just after the First World War. Until his son, William Graves, reprinted almost all the Poems About War in 1988, Graves's status as a 'war poet' seems to have depended mainly on his prose memoir (and bestseller), Good-bye to All That. None of the previous biographies written on Graves, however excellent, attempt to deal with this paradox in any depth. Robert Graves the war poet and the suppressed poems themselves have been largely neglected – until now. Jean Moorcroft Wilson, celebrated biographer of poets Siegfried Sassoon, Isaac Rosenberg and Edward Thomas, relates Graves's fascinating life during this period, his experiences in the war, his being left for dead at the Battle of the Somme, his leap from a third-storey window after his lover Laura Riding's even more dramatic jump from the fourth storey, his move to Spain and his final 'goodbye' to 'all that'. In this deeply-researched new book, containing startling material never before brought to light, Dr Moorcroft Wilson traces not only Graves's compelling life, but also the development of his poetry during the First World War, his thinking about the conflict and his shifting attitude towards it. Robert Graves: From Great War Poet to Good-bye to All That casts new light on the life, prose and poetry of Graves, without which the story of Great War poetry is incomplete.

There's nothing wrong with dying--it just hasn't ever had the proper sales pitch!