An Altar On The Village Green

"If one suffers, I suffer. If one is chained, I am chained." My faith called me to become a Lance. My compassion drew me into one of the fallen lands. Through my connection with the Chained God, I alone can find and destroy the Horror that stains the land. Death can no longer chain me. But I couldn't have imagined the madness waiting for me in this village. I'm not sure my faith can withstand the secrets I'll uncover. Or that my compassion can survive the violence to come. This Horror may swallow me whole. Death can no longer free me. A creature stalks in the dark. Buildings burn. People die. An altar has been built on the village green.

The three cycles of sermons included here provide a spiritual geography, an announcement of the gospel set in New York State. The sermons were given life in the vibrant life of Asbury First United Methodist Church, Rochester, New York, over several years beginning in 2000. The collection is meant to exemplify a thematic form of preaching that addresses and creates a collective consciousness in the life a community. One series is set on "A Village Green." Another invites those along the Finger Lakes to travel "Once More to the Lake." The third traverses the major cities of the state, and their capacity to become "An Empire of the Spirit." The sermons here try to unfold an interpretation of Scripture by engaging local settings to produce a geography of the Spirit.

Peter Buse illuminates the relationship between modern British drama and contemporary critical and cultural theory. He demonstrates how theory allows fresh insights into familiar drama, pairing well-known plays with classic theory texts. The theoretical text is more than applied to the dramatic text, instead Buse shows how they reflect on each other. Drama + Theory provides not only provides new interpretations of popular plays, but of the theoretical texts as well.

The village green is the focal point of any community, a gathering place where the best ideas take root and the brightest voices are heard. The New Village Green gathers some of the best ideas and brightest voices of the green community, some famous and familiar, others fresh and unknown. Each tells an absorbing story, and collectively they comprise a powerful chorus that profiles the current state of the environment. This remarkable book gathers wisdom and insight from a compelling and thought-provoking virtual community. Each contributor brings a unique perspective that mingles reverence for the environment with provocative thoughts for the future. Topics range from spirituality to solar panels and, just like a real village green, are juxtaposed with opinions from “the new village people,” including: Writers Bill McKibben and Michael Pollan Scientists James Lovelock and Donella Meadows Spiritual leaders Gandhi and Buddha And practical, homespun topics are given equal time: Good reasons to embrace alternative currencies Tips for growing great garlic Meant to be devoured in one sitting or sipped a little at a time, this book springboards the green movement into the future by acknowledging its roots in the past. Rachel Carson, Paul Ehrlich, and Helen and Scott Nearing are as relevant today as the Slow Food Movement and Peak Oil. This book will touch the heart of anyone who lives with conscience and hope. Stephen Morris is editor and publisher of Green Living Magazine and co-founder of The Public Press.

This 1995 book examines the work of David Hare including screenplays and the plays he has written for the Royal National Theatre.

The press and politicians. A delicate relationship. Too close, and danger ensues. Too far apart, and democracy itself cannot function. Pravda (which means "truth") is a satire written at the height of Thatcherism when huge political changes were afoot. The play essentially studies, through black humour and close scrutiny, the tabloid ethic and the media industry as a get-rich-quick-fix. In the programme for the original 1985 production of Pravda, Brenton wrote: "Pravda means 'the truth'. English newspapers aren't propaganda sheets. The question is, why do so many of them choose to behave as if they are?" The character of Lambert Le Roux is a South African newspaper tycoon and the owner of several companies, striding his way through the regional papers en route to Fleet Street. Turning broadsheets tabloid, dumbing down the message, and stretching the truth, Le Roux takes no prisoners as he manipulates politicians and creates a media monopoly out of a once-respected industry. Le Roux is bent on dominating England's press as he has elsewhere in the world. As we see Le Roux accomplish his aims, we see also how the press is not the organ of truth we like to think it is. The dissemination of the truth is no longer its primary goal under the 'Lambert Le Rouxs' of our world. What is important now is what sells. The play is an epic satire on the media in the Thatcher era; a morality tale about how Andrew, a young liberal journalist, finally succumbs to Le Roux, who makes him editor of a tabloid; and – allegedly – the play is a direct representation of Rupert Murdoch who, even in 1985, was a major force in media ownership. Howard Brenton's and David Hare's first collaboration since Brassneck in 1973, Pravda was premiered at the National Theatre in May 1985, starring Anthony Hopkins and directed by David Hare, and was awarded the London Standard Best Play Award, the City Limits Best Play Award, and the Plays and Players Best Play Award. This Modern Classics edition features an introduction by Philip Roberts, Emeritus Professor of Drama and Theatre Studies at the University of Leeds, and a foreword by Jonathan Church.

The story of the villagers of Tufi, in Papua New Guinea their dramatic yesterdays, their joys and worries of today, their expectations of tomorrow."