Beast With Two Backs

In Greenwich Village in the late 1920s Al, an artist, moves into a rooming house on Macdougal Street and finds himself being pulled deeper and deeper into the lives of its inhabitants. Above him live Mary Margaret, a lost actress from Ohio, and her philandering poet boyfriend, Jem. Al meets Mary Margaret when she comes home drunk one night and blunders into his bed. He falls in love with her. The landlord, McLish, keeps bursting into Al's room to help him with his romance. McLish, a failed writer, has his own troubles: a beautiful but compulsively disloyal wife. And somebody keeps playing "The Saint James Infirmary Blues." Al's attempt to rescue Mary Margaret is the core of this richly atmospheric love story which vividly recreates the world of artists and writers in this era. (Mary Margaret also appears in his Anima Mundi and Laestrygonians.) In Pendragon Plays.

Presents an original reading of Shakespeare's tragedies "Hamlet", "Othello", "King Lear" and "Macbeth".

Sam Winchester has been kidnapped, and his father will stop at nothing to find him. But the clues are few, and even if John does find the culprit, will Dean back him up in the fight? The shattering conclusion to Rising Son is here! PLUS a bonus story by series creator Eric Kripke and Dan Hipp!

He was playing a dangerous masquerade...Griff Knighton′s found the perfect way to avoid being trapped into marriage with one of the Earl of Swanlea′s daughters: he′ll swap identities with his man of affairs during their next visit to Swan Park, and be free to pursue his own desires! After all, he′s not about to marry some homely spinster just to claim his rightful title. But Griff didn′t reckon on the brazen, voluptuous Rosalind, who could tempt even a saint into sinning, and Griff is no saint. She was determined to unmask him...

Seminar paper from the year 2015 in the subject English Language and Literature Studies - Literature, grade: 2,0, Johannes Gutenberg University Mainz, language: English, abstract: This term paper seeks to dislocate traces of racism within the characters of Iago, Othello, and Desdemona in Shakespeare's "Othello". By scrutinizing both overt and covert forms of xenophobia, it tries to explain how and why the play came to its tragic ending. In 1994, Nelson Mandela wrote in his autobiography that "no one is born hating another person because of the color of his skin, or his background, or his religion" and that, consequently, "people must learn to hate". By itself, this is a simple statement but it is also egregious in the way it makes us understand. There is nothing it could not explain, no dispute it could not illuminate. And even though Mr. Mandela had originally formulated his statement with regard to Apartheid, it fits extraordinarily well to racism in Shakespeare’s "Othello". Judging from Michael Neill’s investigations into the subject of notions of human difference in early modern societies, 16th century Venice had a considerably open attitude towards foreigners of any kind, with a great deal of cultural exchange taking place between people of every colour and every religion. By the beginning of the 17th century, however, this started to change: as the number of encounters with foreign cultures increased, "color emerg[ed] as the most important criterion for defining otherness" (Neill). As Mandela would have put it, Venetians started to learn hating others in behalf of their skin colour. And precisely this kind of development is illustrated in Othello: the Moor, who is actually a prime example for successful integration, has to endure an increasing degree of enmities and discriminations as racist sentiments begin to emerge in Venetian society — sentiments even Othello himself cannot resist.

Rev. ed. of: Notes for Joyce: an annotation of James Joyce's Ulysses, 1974.

A handbook for interpreting Faulkner's great novel