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The Habit of Art
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| NZ$ 33.00 each |
| Paperback |
| Author: Alan Bennett |
| Published by: Faber and Faber |
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Auden often said that metre and rhyme led him down unexpected paths to thoughts he wouldn't otherwise have had, and in this respect versification and fornication are not so different. Benjamin Britten, sailing uncomfortably close to the wind with his new opera, "Death in Venice", seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by amongst others their future biographer and a young man from the local bus station. You are a rent boy. I am a poet. Over the wall lives the Dean of Christ Church. We all have our parts to play. Alan Bennett's new play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion's spent: ultimately, on the habit of
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Love Lies Bleeding
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| NZ$ 28.00 each |
| Paperback |
| Author: Don DeLillo |
| Published by: Picador |
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Alex Hauser left New York and gave up easel painting to live and create land art in the southwestern desert. Now seventy, he has had his second massive stroke. His young third wife Lia believes that somewhere deep inside his mind is still alive, but Alex's ex-wife and son, Toinette and Sean, have come to this remote place to help him die. Scarlet four o'clock, terminal sedation, night blooming cereus, respiratory depression, sacred datura, persistent vegetative state, love-lies-bleeding, life long devotion: the names of desert flowers and the language of death are equally potent and mysterious in this haunting and urgent play. Like "Wit" and "Whose Life Is It Anyway?", "Love-Lies-Bleeding" explores the perilous question of when life ends or should. It is also a play about a son looking for the father who abandoned him, and it is about the odd emotional tenacity of relationships long-ended, about shared language as the antidote to loss.
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The Songmaker's Chair (Play Script)
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| NZ$ 25.00 each |
| Paperback |
| Author: Albert Wendt |
| Published by: Huia Publishers |
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Auckland, one summer weekend. A family fused together by the energies of multicultural Aotearoa New Zealand faces meltdown as tensions build between migrant and New Zealand-born generations, and between Samoan, Maori and Palagi family members.
The Songmaker's Chair tells of a Samoan family, the 'Aiga Sa-Peseola, who have been in Auckland since the 1950s. Over three generations the family have intermarried with Maori and Pakeha to develop what they refer to as the Peseola Way. Central to that way is the magnificent Polynesian exploration and settlement of the Pacific, and a songmaking tradition which Peseola Olaga, the family patriarch has inherited from his father. At the heart of the play is the love between Peseola Olaga and Malaga, his wife, and how they've struggled to give their children a good life in Aotearoa. Theirs is the Peseola Way: defiant, honest and unflinching even in the face of death.
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Arthur Miller Plays 4 : The Golden Years; The Man Who Had All the Luck; I Can't Remember Anything; Clara
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| NZ$ 55.00 each |
| Paperback |
| Author: Arthur Miller |
| Published by: Methuen |
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The fourth volume of Miller's plays reissued to coincide with the publication of the sixth and final volume of his plays in the Methuen Drama World Classics series. The volume features an introduction by the author and a chronology of his work. Arthur Miller's two early plays, The Golden Years, a historical tragedy about Montezuma's destruction at the hands of Cortez, and The Man Who Had All the Luck, a fable about human freedom and individual responsibility, are brought together in this volume. It also features two of his contemporary shorter plays, I Can't Remember Anything and Clara, first presented on a double bill as Danger! Memory. The latter focus on the importance and dangers of remembering the past, while the early plays, written at the time of the Second World War, mark the emergence of a drama in which public issues are rooted in private anxieties and chart the beginning of Miller's career that was one of the most
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