Penelope Anderson never liked her family and life. Deciding to leave it all behind, she and her trusted white stallion, Willow, escape from their home. They eventually gain a traveling partner, Mitch, but their travels are all but ordinary. Now the three of them are faced with the challenge of returning to the place, and time, from which they came. Ana Lee Whint sprinkles on some humor to a story of people searching for truth in their lives. Although she is a terrible cook, Ana Lee proves her talent with words through this wonderful story.
Over 60 years on from its inception, the celebrated Fun Palace civic project – developed in the 1960s by the radical theatre director Joan Littlewood and the architect Cedric Price – continues to capture the architectural imagination. Despite the building itself never being realized, much of the previous analysis of the Fun Palace has been devoted to Price and his drawings. The critical role that Littlewood played, however, remains largely unrecognized by architectural scholarship, and a whole area of the project's cultural agenda remains overlooked. Architecture, Media, Archives is the first serious study of the complex relations between Littlewood and Price, reframing the Fun Palace as an extended media project and positioning Littlewood more clearly as co-designer. Drawing on extensive archival material, the book considers how, due to a lack of institutional support, the aims of the Fun Palace – to transform the passive mass-audiences of post-war consumer society into active citizens, through forms of self-directed, pleasure-led and open exchange – were realized through different 'sites of information' throughout the 1960s. From broadsheets, pamphlets and journals to films and press news, the book addresses the conditions of production, circulation, storage and reception of these 'sites' and reveals how they not only recorded the transformation of the project, but also fundamentally enhanced and informed its meaning in specific ways. The book also raises important questions about the agency of the Fun Palace archive in shaping the reception of the project in the decades since its inception, presenting its analysis through a novel 'Fun Palace Reception Index and Chart', fundamentally altering our view of the project itself and transforming the way in which we understand the technological and cultural production of the 1960s.
A bizarre red fog belches from the New York City sewers. Ian, like so many others, succumbs to its paranormal caress. As he lies in the street unable to move, all he can think about is Skorpe, the man who crushed his heart and stole his money. Soon, creatures composed of no more than glowing outlines with eyes like flaming coals begin wandering the streets. Falling for Ian wasn’t in Skorpe’s plans. To save Ian from the Crimson Bane, Skorpe steals nine grand from him and leaves him to set up a safe haven then returns only to discover that he might be too late. Struggling to comprehend a world turned upside down, Ian wants only to be with his partner Skorpe at The Castle, an underground stronghold for Parallelans and Earthies. However, Ian’s unpredictable ex-fiancé, Regina, is the residing MD, and Skorpe worries that Ian still has lingering feelings for her. When explosions at the Standoff Point separate Ian and Skorpe, the two lovers vow to find each another a second time, but there’s only one problem. Regina is determined to mend fences and make Ian hers again. Stuck in the Appalachians, Ian begins a long trek back to the man he loves. However, Skorpe has a problem, too—a very handsome one. Can Ian and Skorpe’s love survive distance, temptation and demons swarming the countryside?
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