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lesorciercanadien · 2 years

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Bibliography of Scholarly Articles and Books

Abbott, Frank, "The Devil Made Me Do It." Popular Spirituality in a Rural Quebec Parish, 1736-1901." Journal of the Canadian Historical Association/Revue de la Société historique du Canada, vol 27, no. 1 (2016): 1-30.

Abbott, Francis A. "The Body or the Soul? Religion and Culture in a Rural Quebec Paris, St-Joseph-de-Beauce, 1736-1901," Simon Fraser University Thesis, Fall 2012.

Anselme Chiasson. Les légendes des Iles de la Madeleine. Éditions des Aboitaux, 1969.

Anselme Chiasson. Le diable Frigolet et 24 autres contes des Iles de la Madeleine. Éditions de l'Acadie. 1991.

Arseneau, Danielle, "Growing Acadian Medicine: From the Acadian Homeland to Nova Scotia Gardens," Dalhousie University. 8 pages.

Arsenault, Georges. La Chandeleur en Acadie. Éditions La Grande Marée Ltée. 2011.

Arsenault, Georges. Contes, légendes et chansons de l'Ile-du-Prince-Édouard. Éditions La Grande Marée Ltée. 2018.

Arsenault, Georges. Noel en Acadie. Éditions La Grande Marée Ltée. 2005.

Arsenault, Georges. La Mi-Carême en Acadie. Éditions La Grande Marée Ltée. 2007.

Benoit Lacroix. Folklore de la mer et religion. Leméac. 1980.

Bergeron, Bertrand. Contes, legendes et recits du Saguenay-Lac-Saint-Jean. Trois Pistoles, 2004.

Bergeron, Florence. A force d'amour: biographie de Florida Gilbert. Société d'histoire du Lac-Saint-Jean. 2008.

Bouchard, Russel. L'exploration du Saguenay par J.-L. Normandin en 1732: Au coeur du Domaine du Roi. Journal original retranscrit, commente et annote. Septentrion, 2002.

Dawson, Nelson-Martin. Fourrures et forets metisserent les Montagnais: Regard sur les sang-meles au Royaume du Saguenay. Septentrion, 2011. 322 pages.

E.I. Robson. A Guide to French Fetes. Methuen & Co. Ltd. 1930.

Gaudet, Colby. "Women and Acadian Popular Religious Culture in Southwestern Nova Scotia, 1795-1820," Vancouver School of Theology, thesis submission, March 2018.

Gaudet, Rose-Delima. “La place de l’Église catholique aux Îles-de-la-Madeleine” Sessions d’études: Société canadienne d’histoire de l’Église catholique 46 (1979): 99-106.

Karst, Amanda. 2010. Conservation Value of the North Ameriacn Boreal Forest from an Ethnobotanical Perspective. Canadian Boreal Initiative, David Suzuki Foundation and Boreal Songbird Initiative; Ottawa, ON; Vancouver, BC; Seattle, WA.

Labelle, Ronald. “Native Witchcraft Beliefs in Acadian, Maritime and Newfoundland Folklore” Ethnologies 30, no. 2 (2008): 137-152.

Lapierre-Otis, Rita. Angèle des Iles: Pour la suite de son monde. Jonquière (Impression à Cap-Saint-Ignace), à compte d’auteur, 1997.

Laurendeau, Geraldine. Inventaire des savoirs et des connaissances des Pekuakamiulnuatsh sur les plantes médicinales, rapport final. Ressources naturelles Canada. Mars 2011.

Lavoie, Kathia, Julie Mollen, Agathe Napess, Georgette Mestokosho et Priscilla Mestokosho. "Innu-Natukuna: La cueillette de plantes médicinales par des membres de la communauté d'Ekuanitshit" Recherches Amérindiennes au Quebec, vol. 45, no. 2-3. (2015).

Madeleine Doyon-Ferland. "Folk Dances in Beauce County," Journal of American Folklore vol. 67 no. 264 (April-June 1954): 137-47; "Carnavals et deguisements traditionnels en Beauce." and "Rites et voisinage chez trois populations rurales canadiennes (Beauce, Dorchester et Charlevoix)" in Coutumes populaires du Canada francais (Quebec: Les Presses de l'Universite Laval, 1972). Found at Library Archives Canada, General Collection F5419 F4 1972.

Maison Saint-Gabriel: Musee et site historique. "Capsule Historique: Croyances populaires et superstitions au Quebec ou côtoyer le merveilleux."

Marius Barbeau. The Tree of Dreams. Oxford University Press. 1955.

Marius Barbeau. Le Saguenay légendaire. Librairie Beauchemin Limitée. 1967.

Nicole Belmont. Mythes et croyances dans l'ancienne France. Flammarion. 1973.

Niemeyer, Mark. "Henry Wadsworth Longfellow's Evangeline: A Tale of Acadie and the Ambiguous Afterlife of the History of the Acadians." Canadian Review of American Studies/Revue canadienne d'etudes americaines vol. 48, no.2, (2018).

Pearl, Jonathan L. "Witchcraft in New France in the Seventeenth Century: The Social Aspect." Historical Reflections/ Reflexions Historiques, vol. 4, no. 2. (Winter 1977): 41-55.

Pierre DesRuisseaux. Dictionnaire des croyances et superstitions. Éditions Triptyche, 1990.

Podruchny, Carolyn. Making the Voyageur World: Travelers and Traders in the North American Fur Trade. Toronto: University of Toronto Press, 2006.

Podruchny, Carolyn, "Werewolves and Windigos: Narratives of Cannibal Monsters in French Canadian Voyageur Oral Tradition," Ethnohistory vol 51 no.4, 2004.

Ransom, Amy J. "The Changing Shape of a Shape-Shifter: The French Canadian "Loup-garou"." Journal of the Fantastic in the Arts, vol. 26, no. 2 (2015): 251-275.

Robinson, James M. The Nag Hammadi Library: The Definitive Translation of the Gnostic Scriptures Complete in One Volume.

Smallman, Shawn. "Spirit Beings, Mental Illness, and Murder: Fur Traders and the Windigo in Canada's Boreal Forest, 1774 to 1935" Ethnohistory vol 57, no. 4 (Fall 2010): 571-596.

Smith, Isobel. "Man into Animal: Lycanthropy in French and French-Canadian Folklore and Literature." Thesis presented to the University of Alberta, Spring 1985.

Tremblay, Marc. "Le cycle de la chasse-galerie: Etude des variantes significatives, de la diffusion et de la structure d'un conte folklorique canadien-francais." These soumise a l'universite Carleton, Janvier 1996.

Victor-Lévy Beaulieu. Les contes québécois du grand-pere Forgeron a son petit-fils Bouscotte. Éditions Trois-Pistoles. 1998.

W. Branch Johnson. Folktales of Brittany. Methuen & Co. 1927.

Wintemberg, W. J. “French Canadian Folk-Tales”, The Journal of American Folklore 17 no. 67 Published by American Folklore Society (Oct.-Dec. 1904): 265-267.

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bdscuatui · 4 years

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Lesiege cho Chad Robert Donnelly và Teresa Donnelly, 22 Holly Lawn Road, 385.000 đô la.Ronny Sinn đến Bina M. Batchelder, 99 Saint James Ave., 210.000 đô la.HuntingtonỦy thác Ngân hàng Hoa Kỳ NA ủy thác, Ủy thác tham gia chính của LSF9 và Hudson Homes Management LLC, luật sư, đến Robert Osterman, 46 Basket St., $ 119.000.Scott E. Cickyham, đại diện cá nhân, Barbara Cickyham Paulson, và Barbara C. Paulson, bất động sản, đến Hoa Kỳ Phát triển Nhà ở & Đô thị, 24 Allen Coit Road, $ 197,345.LeverettJoseph Williams, Jr. đến Hong Tong Cai, 475 Long Plain, 155.000 đô la.Douglas P. Glazier, Ronald P. Glazier và Terry P. Glazier đến Philip W. Hirsch, Cave Hill Road, 65.000 USD.LongmeadowDiolinda Dasilva đến Joshua P. Lamson và Rachael A. Lamson, 260 Williams St., $ 330.000.Julius S. Brecht đến Andrew H. Scott và Silvia I. Scott, 25 đường Chatham, 450.000 đô la.LudlowAmy Maschi đến Geovanni Vazquez và Jessica M. Vazquez, 33 Lazarz St., 190.000 USD.Dianne Fabrocini và John F. Olson đến Robert S. 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Toelken cho Nicholas Strange, 21 Thương mại St., $ 145.000.Monica Desmarais, bất động sản, và Frederick A. Zieminski, đại diện, cho Justin K. Cordeiro, 127 Springfield St., 155.000 đô la.Ruby Realty LLC, đến Xing Gao Wang, 2041-2043 High St., $ 138.000.RussellJoan M. Deacon, Mark E. Deacon, Diane Deacon James và John F. Deacon cho Craig R. Maryea và Connie M. Maryea, 90 Highland Ave., 200.000 đô la.William S. Russell đến Abigail Tompkins và Andrew Tompkins, 52 West Main St., 300.000 đô la.Nam HadleyBrett A. Remillard cho Howie Realty LLC, 515 Granby Road và Cypress Drive, 25.000 đô la.Noella Loiselle và Noella R. Loiselle cho Paul N. Loiselle, người được ủy thác, Catherine L. Loiselle, người được ủy thác và Tuyên bố của Loiselle Irrevocable Trust, 385 Amherst Road, $ 100.Domini Kirchner II, người được ủy thác và Laurels Realty tin tưởng vào Melanie Navarro và Maria Centeno, 68 School St., $ 196.000.Robert B. Genetelli Jr., Lisa J. Genetelli và Allison S. Genetelli cho Karen M. 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Jackson, 14 Castle St., 177.000 USD.Ruby Realty LLC, đến Thurston Properties LLC, 10 Woodside Circle, $ 170.000.SpringfieldAle House Inc., đến 536 Worthington St. LLC, 536 Worthington St., $ 125.000.Bretta Construction LLC, đến Ram Kumar Sanyasi và Tila Rupa Sanyasi, 81 Woodrow St., $ 334,900.David M. Trehey và Antonia T. Veronesi-Trehey đến Timothy A. Raimer, 44 Colorado St., $ 197.000.Debra A. Duncan cho MPower Capital LLC, 1515 Carew St., $ 80.000.Della Ripa Bất động sản LLC, đến Cig4 LLC, 235 Pendleton Ave, $ 65.100.Della Ripa Bất động sản LLC, đến Cig4 LLC, 240 East St., $ 80.000.Nhà quản lý tài sản ngoại giao LLC, đến David Malave, 70 Carew Terrace, $ 87.000.Elba M. Mendez đến Bruce Dimm, 85 Castle St., $ 186.000.Fumi Realty Inc., đến Delsie Parker, 52 Stratford Terrace, 187.000 USD.Gabriela V. 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Marotte, 124 đường Burt, 80.000 đô la.Lachenauer LLC, đến Joshua Sanchez và Sabrina Santiago, 66 đường Aspen, $ 195.000.Loretta A. Tupek đến Basile Realty LLC, 163 Winterset Drive, 135.000 đô la.Marie Perry đến tháng 6 Associates LLC, 155 Middle St., 75.000 đô la.Michael M. Hastie đến Karin E. Willett, số 207 đường Oak Hollow, $ 246.000.Mohammed Alkhabi và Dhuha Almaliki đến Helen Al-Mahrwuth, 17-19 Crown St., 180.000 USD.Hội trường Nina M. đến Kristol Griffith và Jerrell Glass, 22-24 Cortland St., 4.000 USD.Paul Ricco và Paul J. Ricco đến Angel DeCaro và Randy Wilson, 123 Audubon St., 50.000 đô la.Rachel M. Craig, Rachel M. Yates và James D. Yates II, đến Rachel Gillette và Mariah Miller, 57 Pelham St., 166.500 đô la.Richard E. LaFlamme và Louise M LaFlamme cho Kevin A. Nunes, 95 Rhinebeck Ave., $ 188.000.Rosanna Greening và Jeffrey Greening cho Jason Pressey, 17 Sky Ridge Lane, 285.000 USD.Thành phố Springfield đến Campagnari Construction LLC, 74 Irvington St., $ 5.000.Thành phố Springfield đến Russ Tetreault Realty LLC, Phố Hồng y, $ 1,030.Susan B. Williams và James Williams đến James Rocca và Chad Lynch, 123-125 Amherst St., 77.000 đô la.Timothy Epps Rich (REP) và Willieanna Conner (EST) đến Keisha Moore, 61 Thompson St, 51.500 đô la.Ngân hàng U S, người được ủy thác và Dòng ủy thác của RMAC 2016-CTT, người được ủy thác, cho Manuel Angel Cardona, 139-141 Moxon St., 129.150 đô la.Victor A. DeAngelo và Mary N. DeAngelo cho Michelle L. Brown, 83 Dartmouth St., 218.000 đô la.Xứ WalesJacquelyn Jovan và Corey K. Jovan đến Ronald W. Gresty Jr., và Rhiannon J. Gresty, 15 Walker Road, 20.000 đô la.đồTim J. Barry đến 2-8 Ross Ave LLC, 2-8 Ross Ave., 100 đô la.Tây SpringfieldC G S Enterprises Inc., đến KDomain LLC, 193-195 Western Ave., Đơn vị 1B, $ 168.000.Christine M. Budzynkiewicz đến SRV Properties LLC, 125 Charles Ave., $ 68.000.Này Lama LLC, đến Chad William Chapman, 454 Birnie Ave., 288.500 đô la.Mary Hunt-O KhắcConnor đến VIP Homes & Associates LLC, 175 Labelle St., $ 80.000.Raymond R. Marquis và Michelle Lynn Hầu tước cho Dominic Kirchner II, người được ủy thác và Kaydoke Realty Trust, người được ủy thác của, 600 Kings Highway, $ 170,010.William M. Gray, Lori A. Gray, Meghan Gray và Meghan A. Bisaillon cho James W. Connor, 75 Birnie Ave., 242.900 USD.WestfieldBrian M. Torpey gửi Martha B. Halperin, ủy thác và Martha B. Halperin Tuyên bố ủy thác, ủy thác của, 15 City View Road, 179.000 đô la.Cinda S. McKinney cho Robert Bellamy và Maura Bellamy, 7 Birch sân thượng, 355.000 đô la.Craig R. Maryea và Connie M. Maryea đến Derek M. Stevens và Meghan A. Gray, 567 Loomis St., 302.000 đô la.DDLP Development LLC, đến Christopher A. Santara và Jennifer L. Santara, Breighly Way, 125.000 đô la.Edward J. Robitaille và Barbara J. Robitaille đến Cheryl A. Bowe và John R. Holton, 126 Long Pond Road, 179.000 USD.Joanne M. Sampson đến Charlene M. Leinonen, 17-21 Gold St., $ 310.000.Linda B. Quigley đến Đức Rosario, 1430 Russell Road, Đơn vị 30, $ 117.000.Robert Bellamy và Maura Bellamy cho Sharon Delaine Francis và Ronald James Francis, 81 Overlook Drive, 395.900 đô la.Ryan A. Lawson và Sara M. Lawson đến Aimee-Jeanne Welch và Eric R. Welch, 1062 E Mountain Road, 222.000 đô la.Hội tiết kiệm quỹ Wilmington, Christiana Trust, ủy thác và ủy thác mua lại thế chấp Pretium, ủy thác của Cig4 LLC, 5 Princeton St., 140.000 đô la.Tây thành phốFelix J. Grygorcewicz, đại diện cá nhân, và Joseph P. Grygorcewicz, bất động sản, cho Michael J. Burke và Marie Burke, 326 đường Tây Bắc, $ 380.000.Cái gìGary M. Cabana và Virginia L. Cowles đến Wade Coleman và Stephanie Sanderson, 297 Haydenville Road, 355.000 đô la.WilbrahamHội tiết kiệm quỹ Wilmington, Christiana Trust, ủy thác và ủy thác mua lại thế chấp Pretium, ủy thác, cho Piotr Rakowski, 2 Evangeline Drive, 229.900 đô la.[ad_2] Nguồn

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terpsichoremovementasmuse · 5 years

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Word is, this is the piece to see. #Repost @camilleabrown ・・・ 3 more performances of ink at @thejoycetheater !!! Special thanks to everyone who has already come and given us so much love! THANK YOU!!! “While she has branched out into Broadway and television in recent years — choreographing “Choir Boy,” “Once on This Island” and NBC’s “Jesus Christ Superstar Live in Concert” — Ms. Brown appears as dedicated as ever to her own company, Camille A. Brown & Dancers, both as a performer and lead creator...What she conjures is a series of relationships, defined by mutual support — and superbly danced.” -The New York Times Set by David L. Arsenault Costumes by @mayte_n NYTs pic by Andrea Mohin Illustration from The New Yorker by Barbara Ott Pictures of ink by Christopher Duggan #inkonhometurf #ink #inkitup

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gussolomonsjrtest · 5 years

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CAMILLE A BROWN: INK

Part three of Camille A. Brown’s trilogy about African-American identity from her point of view, which began in 2014 with “Mr. Tol E. Rance,” followed in 2016 by “Black Girl,” concludes at the Joyce Theater this week (February 5-10) with “Ink,” which explores self-empowerment, love, brotherhood, exhaustion, and resilience among the black community. The hour-long work is driven by live music, played onstage by drummers Allison Miller, and Wilson Torres, keyboardist Scott Patterson, and music director Juliette Jones on violin.

A billboard-sized mural split in two halves, by David Arsenault, hovers above the action. It depicts faces, on which the onstage characters are loosely based. Jane Chan’s subtle lighting changes the imagery – part real, part abstract, making the faces seem to emerge and disappear like the fragmentary underlayers on an actual billboard before new images are posted. The dancers wear sports clothes – workout pants, jeans, team tank tops, cutoff gray sweats and socks, a white hoodie, backward baseball cap, a striped skirt with asymmetrical hem, a plaid sport shirt, sneakers – reinforcing their unique personalities.

Camille A. Brown in INK

Brown mines her large vocabulary of modern, African, hip-hop, social dance, and mixes it with her own idiosyncratic gesture codes to create movement that looks more like exuberant behavior than dance steps. And it’s emotional intentions are evident, although not necessarily on the nose. Brown’s opening solo starts sitting on a carton doing manual gesturing that looks like a secret sign language. As the drums build to a crescendo, incorporating a mélange of African, dance hall, and Latin rhythms, she whips into a controlled frenzy of exuberance, anger, frustration, and liberation.

Maleek Washington and Yusha-Marie Sorzano in Camille A. Brown’s INK

A duet for Yusha-Marie Sorzano and Maleek Washington starts like simultaneous solos, which soon catch each other’s emotional energies. Her movement sweeps horizontally, his bounds into the air, like a ball player. Then suddenly, they are in unison, doing the same movement, though entirely with their own inflections. Brown often builds such unisons that are held together, not by matching shapes but by synchronized rhythm and dynamic intention. The two confront each other and poignantly reveal mutual caring by grooming and swapping articles of clothing.

Catherine Foster in Camille A. Brown’s INK

Catherine Foster, a natural force, dances solo but creates with her focus a virtually palpable partner. She reinforces the drum beats by slapping her thighs and clapping her hands like the Juba dancing of African slaves, bereft of their instruments by sadistic masters. Finally, she salutes the murals, as do all the others in their turns, and strolls offstage, somehow cleansed.

Maleek Washington and Timothy Edwards in Camille A. Brown’s INK

Washington returns for a duet with Timothy Edwards, in which they explore the rapport of brothers in the ‘hood, shooting hoops and feigning aggression. They flinch from imaginary blows, not inflicted on each other but dealt by unseen but oh, so real outside antagonists. The brotherly bond ultimately triumphs over defeat; their mock attacks on each other diffuse the rage they’re helpless to inflict on the real oppressors – rival gangs, police brutality, deprivation... Violinist Jones strolls in a broad circle bowing and plucking her violin, as Beatrice Capote comforts her manically agitated partner, Juel D. Lane, following closely behind him but just out of range of his wind-milling limbs; then he reciprocates the favor, protecting her.

(l-r): Juliette Jones, Juel D. Lane, Beatrice Capote in Camille A. Brown’s INK

The final dance passage accumulates he whole cast in one of Brown’s signature unison phrases that draws a round of applause with its energetic persistence. And all the dancers finish by jumping repeatedly as high as they can until the lights fade, signaling the end of the dance.

The cast of Camille A. Brown’s INK (l-r): Juel D. Lane, Timothy Edwards, Yusha-Marie Sorzano, Camille A. Brown, Maleek Washington, Allison Miller, Catherine Foster.

Before the audience ovation can subside, Washington and Edwards re-enter with chairs and mic to solicit the audience’s instantaneous, single word responses. During this epilog, comprising audience feedback, discussion, Q&A, that Brown actually builds into every show, Brown explains that she strives for authenticity by dancing only about her own lived experience, and she interrogates and incorporates what her dancers bring to the table. The result is exhilarating, spiritually uplifting dance/theater pieces that transcend both art forms. She says when people ask her, “what is it that you do; is it tap or what?” she simply replies,” It’s me, Camille A. Brown!”

Photos by Christopher Duggan

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katybudgetbooks · 5 years

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Intro to Speculative Fiction by People of Color adapted from The Fantasy Inn

Classics

Beloved by Toni Morrison

Mythic Fantasy

The Epic Crush of Genie Lo by F.C. Yee

Fire Boy by Sami Shah

Urban Fantasy

The House of Shattered Wings by Aliette de Bodard

Cast in Shadow by Michelle Sagara

Bad Blood by L.A. Banks

Shadowshaper by Daniel José Older

Jade City by Fonda Lee

Zero Sum Game by SL Huang

Last Call at the Nightshade Lounge by Paul Kreuger

Paranormal Romance

Bearly a Lady by Cassandra Khaw

Slave to Sensation by Nalini Singh

Better off Red by Rebekah Weatherspoon

Erotic Science Fiction

The Stars Change by Mary Anne Mohanraj

Space Opera

Ascension by Jacqueline Koyanagi

An Unkindness of Ghosts by Rivers Solomon

Ragamuffin by Tobias S. Buckell

Science Fiction

Mirage by Somaiya Daud

Never Let Me Go by Kazuo Ishiguro

Want by Cindy Pon

Dhalgren by Samuel R. Delany

Science Fantasy

Ninefox Gambit by Yoon Ha Lee

Star Wars: Finn’s Story by Jesse J. Holland

Gemsigns by Stephanie Saulter

Dystopian

Ink by Sabrina Vourvoulias

The Marrow Thieves by Cherie Dimaline

An Excess Male by Maggie Shen King

Future Home of the Living God by Louise Erdrich

Legend by Marie Lu

Who Fears Death by Nnedi Okorafor

Apocalyptic

The Fifth Season by N.K. Jemisin

Robopocalypse by Daniel H. Wilson

Orleans by Sherri L. Smith

Killer of Enemies by Joseph Bruchac

Brown Girl in the Ring by Nalo Hopkinson

Steampunk

The Sea is Ours edited by Jaymee Goh & Joyce Chng

The Dream of Perpetual Motion by Dexter Palmer

Everfair by Nisi Shawl

Buffalo Soldier by Maurice Broaddus

Zombie Fiction

Zone One by Colson Whitehead

Dread Nation by Justina Ireland

Alternate History

Lion’s Blood by Steven Barnes

Wild Seed by Octavia Butler

Historical Fantasy

The Ghost Bride by Yangsze Choo

Redwood and Wildfire by Andrea Hairston

Midnight’s Children by Salman Rushdie

Witchmark by C.L. Polk

Mother of the Sea by Zetta Elliot

Fantasy of Manners

Sorcerer to the Crown by Zen Cho

Time Travel

Time Salvager by Wesley Chu

An Ocean of Minutes by Thea Lim

Here and Now and Then by Mike Chen

Comedic Science Fiction

High Aztech by Ernest Hogan

The Brothers Jetstream: Leviathan by Zig Zag Claybourne

Young Adult

The Interrogation of Ashala Wolf by Ambelin Kwaymulina

An Ember in the Ashes by Sabaa Tahir

Children of Blood and Bone by Tomi Adeyemi

The Wrath and the Dawn by Renée Ahdieh

Middle Grade

Spirit Hunters by Ellen Oh

The Gauntlet by Karuna Riazi

Love Sugar Magic: A Dash of Trouble by Anna Meriano

Fairy Tale Fantasy

Boy, Snow, Bird by Helen Oyeyemi

Huntress by Malinda Lo

Forest of a Thousand Lanterns by Julie C. Dao

Dark Fantasy

Certain Dark Things by Silvia Moreno-Garcia

The Gilda Stories by Jewelle Gomez

My Soul to Keep by Tananarive Due

Mythology

The Palace of Illusions by Chitra Banerjee Divakaruni

Sword & Sorcery

Imaro by Charles R. Saunders

Throne of the Crescent Moon by Saladin Ahmed

Romantic Fantasy

Song of Blood and Stone by L. Penelope

The Star-Touched Queen by Roshani Chokshi

The Island of Eternal Love by Daína Chaviano

Literary

The Winged Histories by Sofia Samatar

Black Leopard, Red Wolf by Marlon James

Almanac of the Dead by Leslie Marmon Silko

The Temple of My Familiar by Alice Walker

Magical Realism

Mumbo Jumbo by Ishmael Reed

The House of the Spirits by Isabel Allende

When Fox is a Thousand by Larissa Lai

Wild Beauty by Anna-Marie McLemore

So Far From God by Ana Castillo

Fifteen Dogs by André Alexis

LitRPG

Changing Faces by Sarah Lin

Epic Fantasy

Empire of Sand by Tasha Suri

The Grace of Kings by Ken Liu

The Sword of Kaigen by M.L. Wang

The Poppy War by R.F. Kuang

The Tiger’s Daughter by K. Arsenault Rivera

The Dragon Songs Saga by JC Kang

The Rage of Dragons by Evan Winter

The Wolf of Oren-yaro by K.S. Villoso

Graphic Novels

Storm: Make it Rain by Greg Pak, Victor Ibanez, Scott Hepburn, & Matteo Buffagni

Monstress by Marjorie Liu and Sana Takeda

Black by Kwanza Osajyefo, Jamal Igle, Robin Riggs, Tim Smith III, & Sarah Stern

Legend of the Mantamaji by Eric Dean Seaton, David Ellis Dickerson, & Brandon Palas

Webcomic

The Meek by Der-shing Helmer

Audio Drama

The Glass Appeal by Elijah Gabriel | Website

Here Be Dragons by Jordan Cobb | Website

Redwing by JV Hampton-VanSant | Website

Flyest Fables by Morgan Givens | Website

Kalila Stormfire’s Economical Magick Services by Lisette Alvarez | Website

Standalone Novel

Under the Pendulum Sun by Jeannette Ng

Severance by Ling Ma

She Weeps Each Time You’re Born by Quan Barry

Smoketown by Tenea D. Johnson

The Lost Girl by Sangu Mandanna

Novella

The Ballad of Black Tom by Victor Lavalle

The Sorcerer of Wildeeps by Kai Ashante Wilson

Novelette

Hell is the Absence of God by Ted Chiang

Short Story

Seasons of Glass and Iron by Amal El-Mohtar | Read for Free Now

A Fist of Permutations in Lightning and Wildflowers by Alyssa Wong | Read for Free Now

The Water That Falls On You From Nowhere by John Chu | Read for Free Now

Anthology

Futureland by Walter Mosley

Dark Matter by Sheree R. Thomas

#aoc #sff

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myasoc · 5 years

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Music Theatre Wichita Announces Creative Teams For 2019 Season

Music Theatre Wichita, entering its 48th summer season, today announced the roster of artistic teams who will be guiding the five large-scale summer productions.

One of the few remaining musical theatres in the U.S. to exclusively self-produce Broadway-sized productions each year, Music Theatre Wichita has been internationally praised for its consistently high quality, as well as for the debut opportunities it offers to up-and-coming artists. The current New York season boasts the work of over 40 MTWichita alumni, from Tony-winning luminaries such as Kelli O’Hara and Kristin Chenoweth, to leading actors in such current shows as Mean Girls, The Prom, King Kong, and Fiddler on the Roof, who began their professional careers at this Midwestern theatrical center.

Artistic leaders for the 2019 season include a core of award-winning artists with long tenures at MTWichita, including Producing Artistic Director Wayne Bryan (32 years), Associate Producer Nancy Reeves (31), Musical Director Thomas W. Douglas (20), Lighting Designer David Neville (33), and Costumer Deborah Roberts (26) – a total of 142 seasons represented by those five individuals.

Guest artists for the upcoming season include Director-Choreographers Brian J. Marcum, Jeffry Denman, and Carlos A. Mendoza, along with Scenic Designers Adam Koch, XuZheng He and David L. Arsenault, Projections Designer Michael Commendatore, and Costume Designers George T. Mitchell and Danita Lee. Other key participants include Production Manager Mitchell Southerland, Associate Musical Director Chuck Koslowske, and Sound Designer David Muehl.

Over the course of 10 weeks from June 12 to August 11, the five locally produced musicals will be attended by more than 70,000 patrons at the Century II Concert Hall in downtown Wichita, KS.

Celebrating the 60th anniversary of its Broadway debut, the fact-inspired family favorite The Sound of Music opens the season, June 12-16, showcasing freshly created scenic designs by Adam Koch, featuring spectacular Alpine vistas painted by XuZheng He. Debbie Roberts will provide costumes for the large cast.

Returning to a show he helmed successfully for the Ogunquit Playhouse, director-choreographer Jeffry Denman (White Christmas, Kid Victory) makes his MTWichita debut with An American in Paris, June 26-30. Set designer David L. Arsenault will expand the scenic designs he originally created for Ogunquit, including a full-stage turntable, with staging to be enhanced by the work of projection designer Michael Commendatore. West coast-based costume designer George T. Mitchell is creating all new, period-authentic costumes for the lavishly choreographed production.

A frequent collaborator at MTWichita, director-choreographer Brian J. Marcum returns to stage both of the classic shows which famously vied for 1975 Tony Awards: A Chorus Line (July 10-14) and Chicago (July 24-28). Mr. Marcum is currently a professor of dance within the musical theatre program at Syracuse University. He performed in six Broadway shows including 42nd Street, The Boy from Oz, and The Drowsy Chaperone, and his many directing and choreographing credits include Associate Choreographer for the Broadway production of Elf, The Musical.

The ebullient season finale In the Heights (August 7-11) will showcase the direction and choreography of Los Angeles-based Carlos A. Mendoza who (like Brian J. Marcum) was a member of the MTWichita performing company early in his career. Since that time, Mr. Mendoza’s career as performer and director has taken him around the world, leading productions for Moonlight Stage (including an award winning production of In the Heights), Performance Riverside, Musical Theatre West, Teatro Mascara Magica, and Hispanic Arts Theatre. Danita Lee will be creating the wardrobe for the production.

Music Theatre Wichita has earned a reputation as one of the foremost summer opportunities for young upcoming talents. This year’s Broadway season features nearly forty MTWichita alumni, including cast members of Come from Away, Anastasia, King Kong, Hamilton, Dear Evan Hansen, Book of Mormon, The Cher Show, The Prom, Kiss Me, Kate, Oklahoma!, Pretty Woman, Mean Girls, My Fair Lady, and many more. Founded in 1972, MTWichita has produced the world premiere of the revised Good News!, the U.S. premiere of Betty Blue Eyes, and the regional premieres of such Disney titles as The Little Mermaid, Beauty and the Beast, Freaky Friday, and High School Musical. MTWichita has also created cast albums for Honk! and Good News!

Season tickets and gift certificates are on sale now, either online at mtwichita.org, or by calling 316.265.3107. More information, including biographies, histories, and videos, can be found at www.mtwichita.org, and on social media sites Facebook (Music Theatre Wichita), Twitter (@MTWichita) and Instagram (MTWichita).

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larryland · 6 years

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by Roseann Cane

A screen descends, and on it a political television commercial appears. We hear the voice of Senator Charles Whitmore (Graham Rowat), a Republican North Carolinian candidate for the Senate, and see a familiar visual collage of family, flag, and good Christian folk. As the screen disappears, we find ourselves in an offstage waiting room at a university, where Whitmore, accompanied by his wife, campaign manager, and a starstruck student, prepares to stoke support for his candidacy by speaking to an enthusiastic crowd.

It’s just three days before Whitmore’s inevitable reelection. But it seems that something has shaken Whitmore’s devotion to “faith, family, and football.” Just a week before, there was a shooting at the elementary school Whitmore’s two sons attend, and friends of his sons were among the 29 children gunned down. Whitmore is experiencing a crisis of faith and is agonizing over his established stance in support of gun rights.

His campaign manager, Alex Klein (an outstanding Keira Naughton), who also happens to be a Jewish Democrat from New York, is beside herself when she learns that Whitmore intends to forego his prepared speech and describes his doubts instead. Klein understands that such a speech puts Whitmore’s candidacy is at stake, and she argues mightily for him to stick to the script. Whitmore’s wife, Sara (Judy Jerome), is devoted to her interpretation of Christian values and her relationship with the Lord. She may appear to be a subservient Southern belle where her marriage is concerned, but she has a will of steel and a temper to match. While her husband quotes John Lennon, “God is a concept by which we measure our pain,” she is outraged and unshakable, using every weapon in her arsenal–seduction, shouting, verbal manipulation–to bring back the man she thought she knew.

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Williams is passionate about gun control, and he understands the need to create a national conversation before any change can be made. Much to his credit, he and director Cohn (who is also his wife) have required a talk-back after every show. (An impressive roster of speakers is scheduled for each show at the Unicorn.) On opening night the audience had the great good fortune to have a talkback with the playwright and the director, and I was gratified to learn about Williams’s motivation to inspire an inclusive, respectful discussion of gun control nationwide, which he wisely sees as a crucial step in bridging the divide in opinions. He and Cohn hope to take Church & State to every state in the union. As Williams writes in the program notes, “While most writers hope that their work will live forever, my dream for this play is that it will become obsolete….I hope it moves people in some way. Perhaps enough to take action with their voice and their vote and bump the needle ever so slightly in the conversation about gun violence.”

As I watched the play, I found it difficult to accept Whitmore’s change of heart. Rowat turns in a fine performance as the tortured politician, but, like so many, I’m confounded and heartbroken by the many conservative politicians who, even after the horrifying regularity with which mass shootings occur, still insist that “guns don’t kill people; people kill people,” and urge that arming teachers is the way to stop school shootings. The fault, as I see it, is in Williams’s writing, and because I admire his passion so much, it pains me to say that. The play has many fine moments, including scenes between Naughton and Jerome, who find that despite their very different beliefs, they have much in common. The entire cast, including Andy Talen who neatly takes on four different roles and plays each one very well, is excellent.

To her credit, Cohn is well aware of the necessity to move the action along at a steady pace. Unfortunately, there were quite a few times during the show where pairs of characters shouted their dialogue in unison, making it impossible to hear what either was saying. I wished the conversations has a more realistic overlap. David L Arsenault’s scene and lighting did the show proud. David Murin’s costumes seemed nearly perfect; I only wish that Jerome’s shoulder tattoo had been covered. It peeked out of her sleeveless dress, and I don’t think Sara Whitmore would ever get tattooed, so it was a distraction from an otherwise admirable performance. Kudos to Scott Killian for his skillful and original sound design, and to Alex Hill for his projections and video design.

Church & State is not a perfect play, but it is an important one. I do hope Williams and Cohn achieve their wish to produce the play nationwide, and that people from the entire political spectrum have the experience of seeing it and participating in the conversation after the show. I hope that you, too, will see this provocative play during its run at the Unicorn, and join in the conversation afterward. We need to talk.

The Berkshire Theatre Group presents Church & State by Jason Odell Williams, directed by Charlotte Cohn, from June 14-30, 2018, on the Larry Vaber Stage in the Unicorn Theatre, 6 East Street in Stockbridge, MA. Scenic and lighting design by David L Arsenault; costume design by David Murin; sound design by Scott Killian; projection and video design by Alex Hill. CAST: Judy Jerome as Sara Whitmore; Keira Naughton as Alex Klein; Graham Rowat as Senator Charles Whitmore; Andy Talen as Tom/Marshall/Reporter/Security Guy.

Tickets for Church & State are $56, and $47 for Previews. Tickets may be purchased in person at the Colonial Ticket Office at 111 South Street, Pittsfield or by calling (413) 997-4444 or online at www.BerkshireTheatreGroup.org. The Ticket Office is open Monday–Saturday 10am–5pm, Sundays 10am–2pm or on any performance day from 10am until curtain. All plays, schedules, casting and prices are subject to change.

A Talkback with will follow every performance. Names and dates of Guest Speakers are subject to change without notice. Special Talkback Guests are as follows:

6/16 8pm Charlotte Cohn (Church & State director) and Jason Odell Williams (Church & State playwright)

6/18 7pm Laurie Norton Moffatt (Director and CEO of Norman Rockwell Museum)

6/19 7pm Senator Adam G. Hinds (State Senator)

6/20 2pm Dr. Alan Chartock (WAMC President/CEO)

6/20 7pm Jennifer Goewey and Tess Lane (Elizabeth Freeman Center representatives)

6/21 7pm Jodi Faith Sherman (Parkland’s Marjory Stoneman Douglas High School Alumna) and Charlotte Cohn (Church & State director)

6/22 8pm Philip R. McKnight (Constitutional Law Professor; B.A., Williams College, J.D., University of Chicago Law School)

6/23 2pm Anne Thalheimer (Everytown Survivor Fellow)

6/23 8pm Malcolm Nance (Author, Counterterrorism and Weapons expert, WAMC and MSNBC contributor) and Joe Donahue(WAMC Senior Director of News and Programming)

6/25 7pm Mark Barden (Sandy Hook Promise), his daughter, Natalie Barden and Greg Gibson (Author of Gone Boy; Representative of Everytown for Gun Safety and Antiquarian book seller)

6/26 7pm Greg Gibson (Author of Gone Boy; Representative of Everytown for Gun Safety and Antiquarian book seller)

6/27 2pm Chris Haley (Director of MA Department of Mental Health)

6/27 7pm Representative William Smitty Pignatelli (MA State House Representative)

6/28 7pm Josh Horwitz (Executive Director of Coalition to Stop Gun Violence)

6/29 8pm Jane Tillman (Evelyn Stefansson Nef Director of the Erikson Institute for Education and Research of the Austen Riggs Center)

6/30 2pm Charlotte Cohn (Church & State director), Jason Odell Williams (Church & State playwright) and Paul Friedman (Executive Director of Virginia Tech Victims Family Outreach Foundation)

6/30 8pm Dr. Andrew Gerber (Director of Austen Riggs Center)

REVIEW: “Church & State” at Berkshire Theatre Group by Roseann Cane A screen descends, and on it a political television commercial appears. We hear the voice of Senator Charles Whitmore (Graham Rowat), a Republican North Carolinian candidate for the Senate, and see a familiar visual collage of family, flag, and good Christian folk.

#Alex Hill #Andy Talen #Berkshire Theatre Group #BTG #Charlotte Cohn #Church & State #David L. Arsenault #David Murin #Graham Rowat #Jason Odell Williams #Judy Jerome #Keira Naughton #Roseann Cane #Scott Killian #Stockbridge MA #Unicorn Theatre

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gussolomonsjrtest · 6 years

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MITCHELL, RIENER, AND ATLAS: “TESSERACT” AT BAM NEXT WAVE

Rashaun Mitchell and Silas Riener dance together in the final configuration of the Merce Cunningham Dance Company. Their dancing continues to be spectacular. After Merce, they formed a partnership that has created some highly thought provoking and visually arresting works, usually in collaboration with artists in other media – poets, visual designers, composers. Their latest, “Tesseract” in BAM’s Next Wave Festival is a collaboration with master video and filmmaker Charles Atlas, who famously added new perspective to the Cunningham dances he filmed.

Mitchell and Riener’s new work is titled “Tesseract,” a geometry term for the four-dimensional analog of the cube; the tesseract is to the cube as the cube is to the square. And the 3-D film, which opens the two-part evening at BAM Harvey, December 13-16, embodies the spirit of Next Wave in its combination of live performance and state of the art technology.

Part I of the evening is a fully produced, 3-D film that begins with a demonstration of the title – a cube, floating in starry space, which becomes the tesseract as it rotates; it gathers dimension with its lines doubling and forming another cube within itself: tesseract. Then, the cast explores Cori Kresge’s body with their hands. Kresge, David Rafael Botana, Kristen Foote, Mitchell, Riener, and Melissa Toogood wear tennis whites embossed with black rectangles; their eyes are surrounded by squares of black makeup, and their lipstick is blue.

As they cavort in an airy conversation, on a projection screen that fills the proscenium – their legs flying, darting about on tiptoe, bending arms into geometric shapes – Atlas moves the sides of the frame in and out to change the size and horizontal location on the screen of our viewing window. The cast dances among black and white textile panels by Fraser Taylor that hang throughout their dancing space.

Suddenly, the dancers vanish, and a new scene begins with all the dancers in blonde shag wigs, crawling on the ground, but up and down are reversed, so the first hang from the ceiling. Then, as the colors morph and solarize, the floor rotates until the dancers are right side up, then the image multiplies. Another spectacular visual, shot from above, swirls into kaleidoscopic multiples – a human tapestry.

The next scene finds Hiroki Ichinose and Kresge in silver on silver unitards, dancing on a carpet of fog, swapping foreground and background to amplify the three-dimensionality. Their dancing is virtuosic and pure. Long lines of limbs twist and bend in surprising, difficult ways with perfect balance and sureness.

Then, a desert scape with a fanciful, computer generated spaceship/castle in the background has foreground dancers snuggling with geometric shapes – cone, cylinder, sphere, pyramid, etc. – as their partners. Small geometric solids are applied to their golden leotards like growths. Kresge dances with a golden cactus.

In a room whose walls are multicolored, lopsided rectangles and triangles, the cast in brightly colored jumpsuits, gathered and banded to resemble muscles and tendons, cavorts sprightly. Mitchell and Reiner designed the imaginative costumes; Julia Donaldson and Yvette Helin constructed them. The extraterrestrial sound score for the film is by Fennesz.

Mitchell and Riener’s works often include an intimate, ambiguously sensual duet, and here, that recurring motif marks the finale of the film. In this case, Riener with his long mane loosed and Mitchell with a close-cut pate dance head to head in a forest of hanging ropes – a psychedelic jungle. Long, rope tails follow them around when they take space. They rotate their heads and faces, kissing-close, and remain in physical contact for an uncompromisingly, even uncomfortably long time – an intimate moment that’s anything but abstract and causes a couple of conservative audience members to flee.

No press images are available of Part I, the filmed section of the two-part work. But one hopes “Tesseract” will be appearing soon at an indie cinema near you.

The cast of TESSERACT PART II by Rashaun Mitchell, Silas Riener, and Charles Atlas

In Part II, Thomas Arsenault, who performs under the name Mas Ysa, creates the atmospheric music, and Davison Scandrett’s lighting strikes the tricky balance between showing us the dancing behind the scrim and illuminating its projections on it. The cast wears white shorts and bras under translucent tunics; later, they shed the tunics.

Closeup of Riener, projected over the cast of TESSERACT PART II with steady-cam operator Ryan Thomas Jenkins center

This section is done behind a huge scrim that fills the proscenium, replacing the projection screen of Part I. In the cast, the formidable Eleanor Hullihan and Kate Jewett replace the excellent Foote and Toogood, and Ichinose – who’s now dancing in Germany, by the way – is missing. Or perhaps we can say he’s been replaced by the steady-cam operator Ryan Thomas Jenkins, who opens the section by doing a little prance dance, while the camera attached to his waist remains motionless. He dances, camera-free, with the cast in the finale of the piece.

Riener center with the cast of TESSERACT PART II and projected live overhead camera view multiplied and rotated

Here, the live dancers establish the thematic motif by running a square around the stage, entering individually, until the six dancers match the six faces of the cube, and the cube takes form in white lines on the scrim. Atlas in the control booth modulates the live video shooting, as Jenkins mingles with the dancers; close-ups and wide shots appear on the scrim, through which we watch the live action, and shots from a birds-eye camera above the stage alternates with the traveling one. Atlas’s digital wizardry is appropriately restrained here in order not to upstage the movement but to modify and amplify its spatial order. For example, Jenkins and the dancers face the side and the projection of them on the scrim faces front.

While the dancing in the film seems more improvisational, giving Atlas material to play with in editing, the live dance is tightly structured and choreographed, providing Atlas a strong template to work his magic on. Watching, you can alternate between looking at the live dancers and the alternative points of view that Atlas brings to the brilliant artistry of the talented company.

(l-r): Ryan Thomas Jenkins; Reiner holding Mitchell, Eleanor Hullihan holding Kate Jewett, and David Rafael Botana holding Cori Kresge in TESSERACT PART II

A particularly satisfying moment is Hullihan’s solo in front of the scrim towards the end, when her live-ness becomes palpable; she makes eye contact with the audience and makes the abstraction personal. And finally, the overhead view of the dancers spinning is superimposed over the initial starry sky, and they turn into stars, recalling the opening image of the show and reminding us how far we’ve been transported.

The “live” cast and its blurred and solarized projection on the scrim in TESSERACT PART II by Rashaun Mitchell, Silas Riener, and Charles Atlas

Photos by Robert Altman

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