A survey of the Chadwick family of the Northeast and North Carolina, who played a pivotal role in the development of the regional commerce. The narrative focuses on the period from around 1725 and just after the Civil War. Researcher Amy Muse, a direct descendant of the Chadwicks on her mother’s side, first published Grandpa Was a Whaler in 1961. It became the first thorough research document on the earliest history of whaling in America in 1681 and the involvement of the Chadwick family over the years in whaling and ocean-going shipping. The narrative focuses on the period from around 1725 and just after the Civil War, from Massachusetts to North Carolina and, in particular, to Carteret County, North Carolina, where the Chadwicks established residency.
In the first book-length study of Annie Baker, one of the most critically acclaimed playwrights in the United States today and winner of the 2014 Pulitzer Prize, a Guggenheim Fellowship, and a MacArthur genius grant, Amy Muse analyzes Baker's plays and other work. These include The Flick, John, The Antipodes, the Shirley Vermont plays, and her adaptation of Uncle Vanya. Muse illuminates their intellectual and ethical themes and issues by contextualizing them with the other works of theatre, art, theology, and psychology that Baker read while writing them. Through close discussions of Baker's work, this book immerses readers in her use of everyday language, her themes of loneliness, desire, empathy, and storytelling, and her innovations with stage time. Enriched by a foreword from Baker's former professor, playwright Mac Wellman, as well as essays by four scholars, Thomas Butler, Jeanmarie Higgins, Katherine Weiss, and Harrison Schmidt, this is a companionable guide for students of American literature and theatre studies, which deepens their knowledge and appreciation of Baker's dramatic invention. Muse argues that Baker is finely attuned to the language of the everyday: imperfect, halting, marked with unexpressed desires, banalities, and silence. Called antitheatrical, these plays draw us back to the essence of theatre: space, time, and story, sitting with others in real time, witnessing the dramatic in the ordinary lives of ordinary people. Baker's revolution for the stage has been to slow it down and bring us all into the mystery and pleasure of attention.
Sarah Ruhl is one of the most highly-acclaimed and frequently-produced American playwrights of the 21st century. Author of eighteen plays and the essay collection 100 Essays I Don't Have Time to Write, she has won a MacArthur “Genius” Grant and the Steinberg Distinguished Playwright Award, been nominated for a Tony Award for In the Next Room or the vibrator play and twice been a finalist for the Pulitzer Prize for The Clean House and In the Next Room. Ruhl is a writer unafraid of the soul. She writes not about “this or that issue,” but “about being,” creating plays that ask “big questions about death, love, and how we should treat each other in this lifetime.” In this volume, Amy Muse situates Ruhl as an artist-thinker and organizes her work around its artistic and ethical concerns. Through a finely-grained account of each play, readers are guided through Ruhl's early influences, the themes of intimacy, transcendence, and communion, and her inventive stagecraft to dramatize “moments of being” onstage. Enriched by essays from scholars Jill Stevenson, Thomas Butler, and Christina Dokou, an interview with directors Sarah Rasmussen and Hayley Finn, and a chronology of Ruhl's life and work, this is a companionable guide for students of American drama and theatre studies. Amy Muse specializes in dramatic literature and performance studies at the University of St. Thomas in St. Paul, Minnesota, where she is Associate Professor and Chair of the English Department. She is the author of “Sarah Ruhl's Sex Ed for Grownups” (Text & Presentation 2013) and essays on Romantic drama, intimate theatre, female Hamlets, and travel in Romantic Circles, Romanticism: The Journal of Romantic Culture & Criticism, Frontiers, and other journals. METHUEN DRAMA CRITICAL COMPANIONS Series Editors: Patrick Lonergan (National University of Ireland, Galway) and Kevin J. Wetmore, Jr. (Loyola Marymount University, USA)
Depths of Muse...are the inspiration from life experiences that allowed the words that I have hidden in my soul to be released. This is my life, my family, my friends and the life I have led to bring me to where I am today...sharing my stories...my words...my heart, soul and love of writing.
A humorous novel about a private eye living an uneventful life in Brighton until normality gives way to a kind of mad logic. Frank, a private eye in Brighton, is the perfect lodger: neat, quiet, and solitary, a decent man leading an uneventful life. Then his neighbour announces she’s pregnant, his landlady’s budgie is strangled, his boss retires to a sauna, his client’s wife is murdered, the client himself drowns, and his client’s sister dies in a fall from a high cliff path. As Frank’s world tightens into a circle of chaos and death, he seeks escape. But will this be the catalyst he needs, or just another step towards the total collapse of his life?
The seventeenth-century Mexican poet, playwright and nun, Sor Juana Inés de la Cruz, is best known for her secular works, most notably her damning indictment of male double standards, Hombres necios (Stupid Men). However, her autos sacramentales (allegorical one-act plays on the Eucharist) have received little attention, and have only been discussed individually and out of sequence. By examining them as a collection, in their original order, their meaning and importance are revealed. The autos combine Christian and classical ‘pagan’ imagery from the ‘Old World’ with the conquest and conversion of the ‘New World’. As the plays progress, the mystery of Christ’s ‘greatest gift’ to mankind is deciphered and is mirrored in Spain’s gift of the True Faith to the indigenous Mexicans. Sor Juana’s own image is also situated within this baroque landscape: presented as a triumph of Spanish imperialism, an exotic muse between two worlds.
One of America’s most popular music artists shares beautiful pieces of an unforgettable human mosaic, revealing pieces of a life in progress. With her unmistakable voice and honest lyrics, Amy Grant has captured a unique place in American music. As the bestselling Christian music artist of all time, a crossover pop sensation, and the wife of country music star Vince Gill, Amy has lived much of her life in the spotlight, subject to adulation, speculation, and scrutiny. Now for the first time she bares her heart and soul to reveal thoughts on everything from motherhood and marriage to fame and forgiveness. Whether describing personal moments alone on a moonlit hillside or very public ones performing with the likes of Tony Bennett and James Taylor, Amy presents a captivating collection of beautiful reflections on life, love, and faith. Includes Never Before Published Lyrics to New Songs Rendered with the lyrical insight we see in her music, Amy reflects on the pieces of her life through the years, forming a vivid mosaic of memories rich in color, varied in texture, and united in their heartfelt design. “Thanks to writing and remembering, I’m re-inspired to value both the mundane and magical moments. In trying to capture a few memories as best as I can, I give myself the gift of treasuring what has been so far a very full and meaningful life. I hope you will do the same with yours.” —Amy Grant Amy Grant weaves original lyrics and poetry into a narrative patchwork of timeless candor in Mosaic. The pieces of her life so far provide stunning inspiration for her beloved fans. Mixing lighthearted reminiscences of her Tennessee childhood, poignant scenes from her life as a wife and mother, and down-to-earth insight from her celebrity stardom, Amy invites you into her world and gently leads you to fresh insights about your own. Amy’s winsome personality and joyful authenticity radiate from each page, welcoming you into the satisfying company of a warm and compassionate artist—a woman who sees life through a unique and deeply personal lens. Amy Grant got her start in the music business with a part-time job sweeping up a Nashville music studio, which provided the perfect opportunity to duplicate a tape of her original songs as a gift for her family. A studio executive overheard her recordings—and the rest is music history. Since the surprising success of her debut album thirty years ago, Amy has grown into a music legend, with six Grammy Awards, twenty-six Dove Awards, and six pop chart-topping hits to her credit. An inductee into the Gospel Music Association Hall of Fame, she also was honored in 2006 with a star on the Hollywood Walk of Fame.
The seventeenth-century Mexican poet, playwright and nun, Sor Juana Ines de la Cruz, is best known for her secular works, most notably her damning indictment of male double standards, Hombres necios (Stupid Men). However, her autos sacramentales (allegorical one-act plays on the Eucharist) have received little attention, and have only been discussed individually and out of sequence. By examining them as a collection, in their original order, their meaning and importance are revealed.
When Amy Clampitt’s first collection, The Kingfisher, was published, it was hailed as that rare first book that “signals a major poet in full bloom” (Los Angeles Times). Its author was sixty-three years old. Over the next eleven years, Clampitt produced four additional, major collections. Now, the most essential poems from these five volumes are gathered together. Clampitt was an impassioned observer of the natural world, the delights of which color many of these poems: writing of the fog, she described “a stuff so single / it might almost be lifted, / folded over, crawled underneath / or slid between, as nakedness- / caressingsheets.” Such was the texture of her language, too. She was a traveler, reporting back from England and Greece, from California and Maine, and from her native Midwest. An Iowa transplant to New York, the descendant of pioneers, she wrote of prairies and subways; of the movements of wildflowers, people, and ideas; and of the widespread modern experience of uprootedness. Here is a treasure of Amy Clampitt’s verse, for those who are reading her for the first time, as well as for those who have long admired her.
The Music That Gave Me A Voice is a wonderful story to help teach a powerful lesson about how many life situations can happen, and change you for the better, or worse. This is all based on my true story about how music made a positive impact on my life through the wonderful times, and the hard times I went through during my teenage years in high school.
The ages of Thatcherism and New Labour are two of the most significant of the twentieth century, and more alike than they would care to admit. Out of these years of political turmoil have come many brilliant, often politically dissenting, British albums which have captured the landscape of the time. This is the story of those albums.
Dark Matter explores the thin line between lust and destruction, revealing a blasted spectrum where thirsty raindrops cause havoc between wet sheets, and from the windows view young girls are hanging by rope from the mango tree; from vast twisted tempests, where Miranda carries Caliban's spawn, to the moist incubator of a breathless baby on the very edge of life, Amy Neilson Smith'sDark Matter work burrows into the bones of what is so viscerally here - and what is so nearly not.It's the after taste of life's losses, all sewn together with a lifeline of light. Dark Mater Amy Neilson Smith's poetry is lively work, displaying an exuberant love of words that will leave the reader eager for more - an engaging talent. Agnes Meadows, Poet/ Writer, Loose Muse - Morgan's Eye Press Amy's work is the thorn and the petals, the whole complicated rose.
Soul-stirring collection of timeless poetry that appeals to the heart features five legendary poets from ancient to modern eras: Sappho, Emily Dickinson, Amy Lowell, Sara Teasdale, and Edna St. Vincent Millay. Includes illustrations by Claire Whitmore.
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