This book is based not only on my professional music career, but it encompasses some very personal aspects of my journey and roller coaster ride through the difficulties endured in my personal and professional life. My fans and closest friends will be surprised by my story. Including most of my family, who will have known nothing about that part of my life. One of the objectives of this book and life story is to offer some hope, insight, and encouragement for others experiencing similar situations. And if one person becomes a follower of our Lord and Savior Jesus Christ from reading my story, that will be a bonus. We lived off the land, where we grew a large vegetable garden each year, had the luxuries of an outhouse for a toilet, and the necessary livestock and access to essential commodities for some of our needs, like egg-laying hens, pigs, dogs, oil lamps, a root cellar, woodstoves, great speckled trout fishing, bicycles, sixshooters and comic books. Most doors had locks but seldom were used, only if one was leaving home for an extended period. You could leave whatever you wished to leave outside, nobody touched it because the neighbours always kept an eye on one another’s properties. What a life, what a way to live. Wow! What a life, what a way to live, it was spectacular!
At a time when knowledge is being 're-valued' as central to curriculum concerns, subject English is being called to account. Literary Knowing and the Making of English Teachers puts long-standing debates about knowledge and knowing in English in dialogue with an investigation of how English teachers are made in the 21st century. This book explores, for the first time, the role of literature in shaping English teachers’ professional knowledge and identities by examining the impacts, in particular, of their own school teaching in their ‘making’. The voices of early career English teachers feature throughout the work, in a series of vignettes providing reflective accounts of their professional learning. The authors bring a range of disciplinary expertise and standpoints to explore the complexity of knowledge and knowing in English. They ask: How do English teachers negotiate competing curriculum demands? How do they understand literary knowledge in a neoliberal context? What is core English knowledge for students, and what role should literature play in the contemporary curriculum? Drawing on a major longitudinal research project, they bring to light what English teachers see as central to their work, the ways they connect teaching with their disciplinary training, and how their understandings of literary practice are contested and reimagined in the classroom. This innovative work is essential reading for scholars and postgraduate students in the fields of teacher education, English education, literary studies and curriculum studies.
Howard Brenton is one of Britain's best-known and most controversial dramatists The Romans in Britain was the play that brought calls to bring back censorship when it was first staged at the National in 1980. It conjures up "an era that is culturally as well as historically remote which is a notoriously difficult task, but Mr Brenton acheives it with great skill and effect...a very good play indeed." In The Thirteenth Night: "He sets the characters of Shakespeare to find the elements in the British character which could transform an Englishman into a Stalin, and closes in on his creation with an overall wit to match his horror" (The Times). The Genius "is teeming with memorable stage pictures, and bristling with Brenton's very best writing: flinty, impassioned, explosive" (Financial Times). In Bloody Poetry "Brenton is doing something markedly ambitious in this phantasmagoric play. He is celebrating the idea of the committed artist who seeks to stir and provoke sullen, defeated bourgeois England. At the same time, with clear-eyed honesty, he shows how difficult it is to upset the moral order" (The Guardian). Greenland is "on the one hand a cry of disillusionment with established political forms, on the other it is full of typically lively Brentonesque satire and lampoons...Brenton's message is a welcome antidote to the madness in which we all now seem to be living and a sharp blast against patriarchy as well as other attendant woes" (City Limits).
Food is at the center of national debates about how Americans live and the future of the planet. Not everyone agrees about how to reform our relationship to food, but one suggestion rises above the din: We need to get back in the kitchen. Amid concerns about rising rates of obesity and diabetes, unpronounceable ingredients, and the environmental footprint of industrial agriculture, food reformers implore parents to slow down, cook from scratch, and gather around the dinner table. Making food a priority, they argue, will lead to happier and healthier families. But is it really that simple? In this riveting and beautifully-written book, Sarah Bowen, Joslyn Brenton, and Sinikka Elliott take us into the kitchens of nine women to tell the complicated story of what it takes to feed a family today. All of these mothers love their children and want them to eat well. But their kitchens are not equal. From cockroach infestations and stretched budgets to picky eaters and conflicting nutrition advice, Pressure Cooker exposes how modern families struggle to confront high expectations and deep-seated inequalities around getting food on the table. Based on extensive interviews and field research in the homes and kitchens of a diverse group of American families, Pressure Cooker challenges the logic of the most popular foodie mantras of our time, showing how they miss the mark and up the ante for parents and children. Romantic images of family meals are inviting, but they create a fiction that does little to fix the problems with the food system. The unforgettable stories in this book evocatively illustrate how class inequality, racism, sexism, and xenophobia converge at the dinner table. If we want a food system that is fair, equitable, and nourishing, we must look outside the kitchen for answers.
Drawing on extensive archival research, Brenton J. Malin explores the historical roots of much of our recent understanding of mediated feelings, showing how earlier ideas about the telegraph, phonograph, radio, motion pictures, and other once-new technologies continue to inform our contemporary thinking. With insightful analysis, Feeling Mediated explores a series of fascinating arguments about technology and emotion that became especially heated during the early 20th century."--Publisher information.
This fascinating drama, staged to acclaim in London and New York, has in its cast of characters Lord Byron, Percy Bysshe Shelley, Mary Shelley and Claire Goodwin. The play is about radicalism artistic, political and more. Taking place in Italy, it concerns the characters' various ideas about radical politics and free love. Along the way, a number of serious questions are raised, not the least of which is why fervent radicals seem so often to be done in by their reprehensible characters. At the end of the play Byron attends the cremation of Shelley on the beach at Viareggio and delivers a stunning ovation over the pyre: "Burn him. Burn us all. A great big bloody beautiful fire.
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.
Whereas many of the men of Reagan's '80s seemed stereotypically hypermasculine, a host of '90s images suggest a new phase of more sensitive manhood. In the Clinton era, both academic and popular writers suggested that a «crisis of masculinity» had taken root - one that had men questioning traditional male ideas and seeking new identities. This book explores the conflicted ways in which this seemingly new climate of masculinity was negotiated. From Bill Clinton to The Promise Keepers and Titanic to Friends, a host of '90s heroes put this rhetoric of crisis to work to win elections, audience members, and ratings.
Howard Brenton is one of Britain's best-known and most controversial dramatists Christie in Love is based on the story of John Christie, the 19th century serial killer, "like Genet, [Brenton] feels for the outcast...But he's less sentimentally involved with his criminals, clearer about his ultimate strategy to show the unreality of straight lines in a curved universe, of the roles society forces on us." (Observer). "Doing our 'umble best, Ma'am to wreck society", Magificence puts the small people and their protests against the bourgeois state on stage; it was described as "A wonderful piece of theatre; annexing whole new chunks of modern life and presenting them in a style at once fruitful and magnified." (The Times) In The Churchill Play, Brenton brings Churchill back to life to view the future that he invented for England and "Brenton finds a way of making us look again at the past which has shaped the future into which he sees us drifting" (New Society). Weapons of Happiness is "a vision of revolution which is quite extraordinary in its creative ambiguity, its richness, its power to stimulate, to threaten and to inspire" (Sunday Times) while Epsom Downs "echoes Bartholomew Fair: a great public festival, held on common land and pulling in punters of every degree...a teaming, Bruegel-like composition" (The Times) The last play in this collection Sore Throats, is a witty and harsh examination of sexual proclivities from within and outside marriage: "No recent play compares for theatrical power and painful bravado." (Observer)
In Patton and His Third Army, Brenton Wallace details the actions of General George S. Patton and the Third Army from its preparations in Britain, to its first engagements with the enemy, through to the major battles countering the German offensives, liberating Paris and breaking across the Moselle into the Nazi heartland to subdue Hitler's forces.
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