Twee kinderen groeien in de jaren tachtig op onder de druk van het niets-ontziende politieke activisme van hun gescheiden moeder.
Yugo dikejutkan dengan kabar bahwa partnernya, Kogure, terlibat kasus pemerasan yang melibatkan yakuza. Kasus ini ternyata berhubungan dengan seorang petinggi gerakan anti Jepang dari Korea Utara yang dicari-cari polisi Jepang. Apa hubungan petinggi gerakan anti Jepang tersebut dengan yakuza? Dan apa Yugo berhasil menyelamatkan Kogure?
The single-mother families of the isolated high-rise community under the shadow of the Lyderhorn, Bergen's great mountain – steep, dark and oppressive – were being robbed, terrorized and molested by a teenage gang led by the psychopath, Joker, who looked like a priest, but with the eyes of a tiger and the teeth of a decaying corpse.
"New York" brings together painter Alex Katz's most striking images of his hometown and the dear friends with which he made it his own. Coming of age during the triumph of the New York School of painting, Katz synthesized its influences with wide-ranging interests shared by many of the New York School poets. Of the more than 40 paintings and aquatints gathered here, many depict that distinguished circle, as well as the iconic skyline where they changed the world. Katz is best known as a painter of people, and the wide cross-section of portraits here demonstrates the variety he brings to the genre, along with dramatic variations in scale, abrupt cropping and subtle artifices such as luxuriant backdrops that turn out to be earlier Katz paintings. Along with an essay and interview, "New York" includes an extraordinary selection of poems from friends of the artist, including some of the most important American poets of the late twentieth century, among them Frank O'Hara, Kenneth Koch, John Ashbery and Robert Creeley. Katz was born in Brooklyn in 1927 and studied at the Cooper Union and Skowhegan School of Painting and Sculpture. His work has been the subject of nearly 200 international solo exhibitions.
A premier singer and master teacher here tells other singers how to get the most from 151 famous arias selected for their popularity or their greatness from 66 operas, ranging in time and style from Christopher Gluck to Carlisle Floyd, from Mozart to Menotti. "The most memorable thrills in an opera singer's life," according to the author's Introduction, "may easily derive from the great arias in his or her repertoire." This book continues the work Martial Singher has done, in performances, in concerts, and in master classes and ons, by drawing attention "not only to precise features of text, notes, and markings but also to psychological motivations and emotional impulses, to laughter and tears, to technical skills, to strokes of genius, and even here and there to variations from the original works that have proved to be fortunate." For each aria, the author gives the dramatic and musical context, advice about interpretation, and the lyric with the original language (if it is not English) and an idiomatic American English translation, in parallel columns. The major operatic traditions French, German, Italian, Russian, and American are represented, as are the major voice types soprano, mezzo-soprano, tenor, baritone, bass-baritone, and bass. The dramatic context is not a mere summary of the plot but is a penetrating and often witty personality sketch of an operatic character in the midst of a situation. The musical context is presented with the dramatic situation in a cleverly integrated way. Suggestions about interpretation, often illustrated with musical notation and phonetic symbols, are interspersed among the author's explication of the music and the action. An overview of Martial Singher's approach based on fifty years of experience on stage in a hundred roles and in class at four leading conservatories is presented in his Introduction. As the reader approaches each opera discussed in this book, he or she experiences the feeling of participation in a rehearsal on stage under an urbane though demanding coach and director. The Interpretive Guide will be of value to professional singers as a source of reference or renewed inspiration and a memory refresher, to coaches for checking and broadening personal impressions, to young singers and students for learning, to teachers who have enjoyed than a half century of experience, and to opera broadcast listeners and telecast viewers who want to understand what goes into the sounds and sights that delight them."
Meet A.K. Swift, a working-class war veteran and family man who is haunted by visions of nuclear apocalypse. When matters of conscience determine that he can no longer support the State-sponsored institutions that create the machines that threaten the living, A.K.decides to stop paying. Trouble is, he's not a very good tax resister. He forgets to attend the meetings and doesn't bother to fill out the proper forms. Now he worries there may be consequences. From the dustbin of Cold War protest literature, Bradley Smith s The Man Who Saw His Own Liver emerges as a heartfelt meditation on the time problem of the individual against authority. Rooted in libertarian theory and the moribund tradition of American transcendentalism, it is the story of an accidental rebel trembling in comic defiance under the yoke of God and State, and before the face Leviathan of modern Bureaucracy. Smith's writing is animated by a crisp and laconic prose-poetic hum. His is a uniquely personal canvass in which storytelling and gently wrought polemics interweave, seamly, with turns of magical realism coming to rest in that frail, strangely familiar liminal space, where ineffable exaltation and terror transcend the political. Originally conceived and performed for the stage in 1983, The Man Who Saw His Own Liver is presented by Nine-Banded books in novelized form.
It is appended with Smith s short story, Joseph Conrad and the Monster from the Deep. We hope you enjoy it.