Marina Carr: Plays 1 introduces the work of a major new voice in playwrighting. Carr has been praised for the beauty and uniqueness of her language, was cited by The Independent as "a hugely valuable dramatic voice," and has even been compared to Eugene O'Neill. A prominent voice in British letters who has been building momentum in the United States for the past decade, Carr's four critically acclaimed works are gathered together here for the first time.
On Raftery's Hill 'This is a play that howls to be seen; its courage is matched only by its dramatic power.' Sunday Independent Ariel 'An astonishing piece of theatre. Interweaving themes drawn from Irish, Greek and biblical myth, she spins a tale of power that is honest, emotional, dark and true . . . Die to see it.' Irish Examiner Woman and Scarecrow 'Drama doesn't come much richer or stranger than this death-bed lament. Ravishing in its dense, literary language, it is as visceral as it is intellectual. It lingers not only in the ear and brain, but in the imagination and the gut. An extraordinary brew, bittersweet and totally intoxicating.' The Times The Cordelia Dream 'A brave piece and clearly charged with deep feeling. . . This is certainly unsettling territory and Carr boldly goes for it.' Financial Times Marble 'An extraordinary play that lures us in with a promise of the recognisable only to drag us screaming into the soaring, magnificent possibilities of love and the destruction that it wreaks.' Irish Independent
The first collection of plays by Marina Carr introduces the work of a major new voice in playwriting. Low in the Dark 'One of the most exciting, new and absolutely original aspects of Carr's writing is the manner in which the sexism of the language and religious imagery is exposed... Marina Carr is a playwright to be watched.' Sunday Tribune The Mai 'The writing is at once gentle and raucous... capable of articulating deep-seated woes and resentments in a manner you rarely find outside Eugene O'Neill.' Observer Portia Coughlan 'A play of precocious maturity and accomplishment.' Irish Times ' Portia Coughlan packs a hell of a punch. It hurts to look at it. But it has to be seen.' Irish Independent By the Bog of Cats... 'A poetic realism steeped in the past... Carr has an extraordinary ability to move between the mythic and the real.' Guardian 'A great play... a great work of poetry... the word should soon carry across both sides of the Atlantic.' Independent
THE STORY: A passionate woman--mother of eight children and wife to a remorseful husband--now facing death, looks back over her life and asks what could have been. Pathos and bitter humor mix in this powerful play from one of Ireland's leading dramat
This third richly varied collection of plays by Marina Carr was published to coincide with the Royal Shakespeare Company's premiere of Hecuba at the Swan Theatre, Stratford-upon-Avon, in September 2015. Sixteen Possible Glimpses imagines sixteen fleeting moments in Anton Chekhov's short life and work. Phaedra Backwards retells the Phaedra myth to discover what shaped her. The Map of Argentina offers a meditation on love and what happens when it is denied, or pursued and hunted down. Hecuba was written in reaction to the bad press this Trojan queen receives, and reimagines how she may have suffered and reacted. Indigo is a dark and passionate romance amongst fairies, demons, ghouls and every sort of fantastic creature out of folklore and myth.
I Neanderthal Prince of the Plains I saw Eden It wasn't much I saw The tree The gates Rusty But still Intact I saw The triple lock The jack boot The size of an oak I retreated Wisely God they Were Ugly Marina Carr's iGirl premiered at the Abbey Theatre, Dublin, in October 2021.
THE STORY: Loosely based on Euripides' tragedy Medea , this is the prophetic tale of Hester Swane, an Irish Traveller, who attempts to come to terms with a lifetime of abandonment in a world where all whom she has loved have discarded her. Se
Troy has fallen. It’s the end of war and the beginning of something else. Something worse. As the cries die down after the final battle, there are reckonings to be made. Humiliated by her defeat and imprisoned by the charismatic victor Agamemnon, the great queen Hecuba must wash the blood of her buried sons from her hands and lead her daughters forward into a world they no longer recognize. Agamemnon has slaughtered his own daughter to win this war. But now another sacrifice is demanded…In a world where human instinct has been ravaged by violence, is everything as it seems in the hearts of the winners and those they have defeated?
This collection of plays from Marina Carr presents a variety of themes, articulating deep-seated woes and resentments, exposing the sexism of language and religious imagery, in these original dramatic works.
THE STORY: An accomplished, beautiful forty-year-old woman, The Mai has always sought an exceptional life. Robert, her cellist husband, has always felt stifled by The Mai's ideals of perfection. After seventeen years he leaves her, whereupon she se
THE STORY: Beautiful and blessed with a wealthy, adoring husband and three young sons, Portia Coughlan would seem to have it all, but grief over the drowning of her twin brother, Gabriel, fifteen years ago in the Belmont River continues to torment her and
THE STORY: Set on the remote hill of Raftery's farm, this play tells the tale of Red Raftery and his children, Dinah, Sorrel and Ded. Removed from the civilized world of the valley, Red lives by his own rules, where all natural order is inverted, a
A sinister night. Evil and edge in the air. What are they celebrating? Clytemnestra's world is torn apart when Agamemnon sacrifices their daughter for the sake of war. Ten years later, the couple are reunited. What follows is a dangerous battle fuelled by love, grief and power. Marina Carr's adaptation of the infamous Greek myth brings Clytemnestra's story to the fore and asks if it is possible to forgive the unforgivable. He turns to me in hall one evening, wine on him, sentimental. There is nothing I would not do to have your good opinion again, he says. Girl on an Altar opened at the Kiln Theatre, London, in May 2022.
It was a terrible crossing. The worst yet. There weren't enough boats. I had to stab my way up the gangplank. It was pitch black and the ferryman hadn't an eye in his head. In a house, a young mother watches over her sleeping baby. But in this dark and dangerously funny play, nothing is as it seems. Audrey or Sorrow is a shape-shifting, time-bending deep dive into a world of unimaginable loss. It exemplifies Marina Carr's work: storytelling that pushes the boundaries of love, power and desire. Draw coal. Coal is a beautiful thing. Someday we'll all be coal. A Landmark Productions and Abbey Theatre co-production, it opened at the Abbey Theatre, Dublin, in February 2024.
THE STORY: A premonition of impending disaster precedes a collision between the conscious and subconscious lives of two married couples. Hidden fantasies and passions conflict with the calls of friendship and fidelity. The characters' everyday exis
Vronsky What were you thinking about with your head stuck to the watering can? Anna Oh, the same, always the same. I was thinking about my happiness and about my unhappiness.Russia is changing. Rules have been broken. Chaos is looming. Families are falling apart. Tolstoy's Anna Karenina is an examination of a country in the midst of extraordinary change. Through the impact of one woman's decision, it looks at the troubling cost of love on the human soul. Marina Carr brings a new perspective to Anna Karenina in her stage adaptation of this epic love story, which opened at the Abbey Theatre, Dublin, in December 2016.
Anton Chekhov, the central figure in Marina Carr's bold new play, an Abbey Theatre Dublin Theatre Festival offering and a portrait of an enigmatic artist recounted in a new plain style.Her glimpses accumulate into an insight and new perspectives into the Russian author and the host of characters in orbit around him, among them his sister Masha, his parents, the brother who died, his wife and a lover. Tolstoy appears, as does the Black Monk, a supernatural shadowing figure, as Marina Carr shreds the veil of piety that can surround a beloved writer and, in an assembly of brushstrokes and individual chords, constructs a lament for lost and unfulfilled relationships.
A bride promised. A blood vow broken. The vengeance of a village released. I want you green. Green wind, green branches. Boat on the ocean. Horse on the mountain. Written in the summer of 1932 with the Spanish civil war looming, Lorca's anarchic meditation on the fate of the individual versus society is a prophetic foreshadowing of the violence that would soon tear his beloved country apart and lead to his own tragic end. The mysteries of love and hate are explored against the backdrop of a community gearing up to unleash these elemental forces upon itself, with unstoppable consequences. What is done cannot be undone. Marina Carr's version of Federico García Lorca's Blood Wedding premiered at the Young Vic, London, in September 2019.
On Raftery's Hill 'This is a play that howls to be seen; its courage is matched only by its dramatic power.' Sunday Independent Ariel 'An astonishing piece of theatre. Interweaving themes drawn from Irish, Greek and biblical myth, she spins a tale of power that is honest, emotional, dark and true . . . Die to see it.' Irish Examiner Woman and Scarecrow 'Drama doesn't come much richer or stranger than this death-bed lament. Ravishing in its dense, literary language, it is as visceral as it is intellectual. It lingers not only in the ear and brain, but in the imagination and the gut. An extraordinary brew, bittersweet and totally intoxicating.' The Times The Cordelia Dream 'A brave piece and clearly charged with deep feeling. . . This is certainly unsettling territory and Carr boldly goes for it.' Financial Times Marble 'An extraordinary play that lures us in with a promise of the recognisable only to drag us screaming into the soaring, magnificent possibilities of love and the destruction that it wreaks.' Irish Independent
This book articulates a contemporary, globalized world as one in which radical disparities in distribution of wealth are being reproduced as the basis for depoliticized social, institutional, and ideological discourses. At its center is a reorientation of global capitalism from the management of life towards making a surplus value from death. This change is presented as a reorientation of biopolitics (bio meaning life) to necropolitics (necro meaning death). Therefore in the book we work with processes of change, of a historicization of biopolitics and its turn into necropolitics that leads to a theoretical trajectory from M. Foucault to A. Mbembe and beyond. This book interprets the sustained perception of existence of dichotomy between these provisional extremes as a trademark of apolitical and/or post-political logics on which contemporary institutional, political, and social discourses tend to be structured upon. More, contrary to the majority of approaches that insists on a profound dichotomy between democracy and totalitarianism, between poverty and free market, and between democracy and capitalism, this book does not interpret these relations as dichotomous, but as mutually fulfilling. The book elaborates, in the context of articulation of these logics, contemporary, imperial racism (racialization) as an ideology of capitalism and states that the First World’s monopoly on definition of modernity has its basis in contemporary reorganization of colonialism. In the book, the authors trace a forensic methodology of global capitalism with which life, art, culture, economy, and the political are becoming part of a detailed system of scrutiny presented and framed in relation to criminal or civil law. Criminalization of each and every segment of our life is working hand in hand with a depoliticization of social conflicts and pacification of the relation between those who rules and those who are ruled. The outcome is a differentiation of every single concept that must from now bear the adjectives of the necropolitical or forensic; therefore we can talk about forensic images, art, projects, and necropolitical life, democracy, citizenship. This will change radically the perspectives of an emancipative project of politics (if it is any possible to be named as such) for the future.
“You need to paint with your heart and not your head, Marie-Claire, or you’ll never pass the Critique.” Professor Dixon said bluntly. “Leave your comfort zone and follow your heart.” The dreaded Critique. The Lady Warwick College of Arts and Design prided itself on being the best art school in London, or the world for that matter, and unless Marie-Claire Wentworth figured out a way to loosen up and throw caution to the wind it was a certainty they would be showing her to the door. Back to America. But the Lady Warwick was where she wanted to be and she was willing to do whatever it took to stay there. It was home now, a place where she could immerse herself in painting her beloved birds and wild fowl, far from the embarrassment of a failed romance. Now her professors were forcing her to push her own boundaries – or else. “Follow you heart!” Professor Dixon had commanded. It was like a bad joke – all she did was eat, sleep and paint, there was no room in her life for any passion. Until she met Mick. Mick Carr had worked damned hard to earn his reputation as Kingsbury Town Football Club’s King Jack-About-Town, and now that they had reached the stratospheric levels of England’s Premier League his choices were endless. The most beautiful women in the world found him irresistible and millions followed his exploits in the daily tabloids. It seemed like every door in London was open to the handsome footballer, and his raging appetite knew no bounds. Until he met Marie-Claire. It was love at first sight. Or, rather, the moment he first saw her paintings. The birds in them, he knew them. Pheasants, quail, swans, they were his world. His other world, not the fast life he lived in London, but the life he lived in on his farm, in the country. Where he was happy. She was a student, though, and he normally gave them a wide berth. What would she want with a man who’d left school at fifteen? But she was gorgeous and Mick was captivated. He tried to be reasonable, honestly he did, but somehow things always got out of control where Marie-Claire was concerned. It seemed so simple, Marie-Claire thought, a quick romance to drag her out of her comfort zone. One kiss in a dark alcove wouldn’t hurt anything, and it was easy to be with Mick. Easy to melt into his arms. Easy to forget he was a prime tabloid target. Suddenly, what started as a harmless fling turned into a nationwide scandal splashed across the front page of every tabloid in the country. Hordes of paparazzi chased her through streets for a fresh photograph that would fetch top money. Mick constantly assured her that it would all blow over but his ex-girlfriend seemed intent on brewing trouble at every turn. Mick might hold the key to her success but he also held the keys to her destruction. Will his love save her or destroy her?
With the rise of the Internet, many pundits predicted that middlemen would disappear. But that hasn't happened. Far from killing the middleman, the Internet has generated a thriving new breed. In The Middleman Economy , Silicon Valley-based reporter Marina Krakovsky elucidates the six essential roles that middlemen play.
This benchmark handbook for neonatal nurse practitioners describes the most common conditions and procedures in an easy-to-access streamlined format. This thoroughly revised third edition continues to promote the foundational principles of evidence-based nursing practice worldwide, while taking the resources and requirements of different practice settings into account. It delivers updated information on trauma-informed care and offers new sections on parent perspectives about transition to home, neonatal opioid withdrawal syndrome (NOWS), and therapeutic hypothermia. Designed with a logical organization, Neonatal Nursing Care Handbook, Third Edition features brief narratives and plentiful illustrations and charts. This quick reference is easily used by English-as-second-language nurses and can be conveniently stored in a pocket for on-the-go referral. Part I uses a systems approach to address management of disorders related to each body system. All chapters include a brief definition of the neonatal problem, followed by diagnostic tests and labs. Part II encompasses special care considerations such as nutrition, surgical care, and palliative care. Part III discusses widely seen procedures and diagnostic tests, complete with lab values. Appendices contain additional useful content on weights and temperatures, common abbreviations, and pertinent web resources. New to the Third Edition: Addresses trauma-informed care Additional Content On: Generalized nursing care regarding respiratory, cardiovascular, gastrointestinal, renal, and hematologic/immune systems Bottle feeding Oral/Nasogastric/Gastrointestinal Tube Feedings Parent perspective on the transition home/primary care High frequency ventilation and new techniques Neonatal Abstinence Syndrome (NAS) and Neonatal Opioid Withdrawal (NOW) Total body cooling/therapeutic hypothermia Key Features: Written by neonatal nurses and other health professionals for neonatal nurses Assists neonatal nurses in making sound clinical decisions Provides streamlined, well-organized format for quick information retrieval Written in brief narratives supported by illustrations, diagrams, and flow charts Easily understandable to English-as-second-language nurses Covers diagnostic tests and lab values and includes medication guide
New York Times Bestseller Publishers Weekly Bestseller Fans of Jill Shalvis, Linda Lael Miller, and Maisey Yates won’t want to miss these delightful Christmas love stories filled with humor and heart. Plenty of cowboy kisses under the mistletoe are the perfect escape this holiday season! MISTLETOE COWBOY * Diana Palmer Horse whisperer Parker doesn't drink, smoke, or gamble, and he doesn't have much to do with women, either. Until he meets winsome widow Katy, and her sweet child. Could Christmas kisses under the mistletoe bring the handsome wrangler the gift of his very own family? “No one beats this author for sensual anticipation.” —Rave Reviews BLAME IT ON THE MISTLETOE * Marina Adair To claim his slice of the family ranch, Texas Ranger Noah is forced back to Tucker’s Crossing. All he expects to find is a tractor load of painful memories—until a holiday storm, a power outage—and perhaps the magic of Christmas—deliver him to rescue an intriguing woman named Faith. But just who’s rescuing whom? “Marina Adair is a breath of fresh air.” —New York Times bestselling author Darynda Jones MISTLETOE DETOUR * Kate Pearce When Morgan Valley rancher Ted Baker gets out his tow truck to pick up a snowbound driver, he doesn’t expect to find his old school friend Veronica on the lam with her pet pig—much less true love—just in time for Christmas . . . “Captures the spirit of the West.” —Booklist on The Maverick Cowboy
The book is devoted to the description of the fundamentals in the area of magnetic resonance. The book covers two domains: radiospectroscopy and quantum radioelectronics. Radiospectroscopy comprises nuclear magnetic resonance , electron paramagnetic resonance, nuclear quadrupolar resonance, and some other phenomena. The radiospectroscopic methods are widely used for obtaining the information on internal (nano, micro and macro) structure of objects. Quantum radioelectronics, which was developed on the basis of radiospectroscopic methods, deals with processes in quantum amplifiers, generators and magnetometers. We do not know analogues of the book presented. The book implies a few levels of the general consideration of phenomena, that can be useful for different groups of readers (students, PhD students, scientists from other scientific branches: physics, chemistry, physical chemistry, biochemistry, biology and medicine).
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