Japanese folk performing arts incorporate a body of entertainments that range from the ritual to the secular. They may be the ritual dances at Shinto shrines performed to summon and entertain deities; group dances to drive away disease-bearing spirits; or theatrical mime to portray the tenets of Buddhist teachings. These ritual entertainments can have histories of a thousand years or more and, with such histories, some have served as the inspiration for the urban entertainments of no, kabuki and bunraku puppetry. The flow of that inspiration, however, has not always been one way. Elements taken from these urban forms could also be used to enhance the appeal of ritual dance and drama. And, in time, these urban entertainments too came to be performed in rural or regional settings and today are similarly considered folk performing arts. Professor Terence Lancashire provides a valuable introductory guide to the major performance types as understood by Japanese scholars.
“A beautiful novel” of life and death, past and present, and the thin lines that lie between them (The Toronto Star). On a streetcar, on Christmas Day, 1950, clutching the chrome rail in front of him, Martin Radey looks at the woman seated beside him, a stranger, and utters his last words: “I can’t breathe.” Like millions, billions before him, it is his turn to die. But death is not what he expected. The journey has only begun. From 1880 to 1950, time happens to the world around him, not to memory, because memory, he discovers, is beyond time, traveling forward with him, shaping the earth, the sky, the heart. The prequel to the widely celebrated Shadow of Ashland, A Witness to Life “is an emotionally charged experience that will not soon be forgotten.” (Dallas Morning News)
Between the two world wars my father took an interest in poems and rhymes from the Great War and wrote some 30 of them down in a notebook along with other poetry. This book is based on those poems and the Great War. In 1914 Britain was reluctantly drawn into war with Germany in support of France, an inevitability that had been forecast since the signing of the Entente Cordiale. Germany had the biggest army in the world and was the belligerent by declaring war against Russia and through that act, France, then England, by treaty or agreement, was also committed. In 1914 Britain's had a pathetically small army but by 1918 it was equal in size to the armies of Germany and France, and was taking the brunt of the fighting alongside a French army weakened by mutiny and low morale. Throughout the war the BEF fought heroically and courageously, at times forced to retreat, but they were never beaten. The enemy never managed to break through to the important centres or the Channel ports, nor did they ever break the British spirit. Yet the BEF were scorned by the powers that be at home and treated with ignominy, Lloyd George failed disgracefully to stand by the General Staff in France who, without doubt in some instances, made mistakes, they were however guided by their conscience and better judgement in their attempts to bring the war to an early conclusion. I hope that this book goes some way to restoring their credibility and shows the efforts of those who were there in a fairer perspective.
Tara Stewart, a beautiful newscaster, matches wits with a ruthless, multimillionaire master mobster to clear her father's name and have him released from prison.
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