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Janet Frame, born in 1924, is New Zealand's most celebrated and least public author. Her early life in small South Island towns seemed, at times, engulfed in a tide of doom: one brother still-born, another epileptic; two sisters dead of heart failure while swimming; Frame herself committed to mental hospitals for the best part of a decade. Later, her surviving sister was temporarily felled in adulthood by a stroke, an uncle cut his throat and a cousin shot his lover, his lover's parents and then himself. This, then, is an inspiring biography of a woman who climbed out of an abyss of unhappiness to take control of her life and become one of the great writers of her time. And to enable her biographer to write this book scrupulously and honestly, Janet Frame spoke for the first time about her whole life. She also made available her personal papers and directed her family and friends to be equally communicative. The result is a biography of astonishing intimacy and frankness, written by multi-award-winning author, Dr Michael King.
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When property surveyor and treasure hunter Sam Peters visits the Isle of Wight, the locals are surprised when he literally strikes gold… only to be murdered soon afterwards. The case is given to keen-minded Hampshire-based Detective Inspector Bruno Peach, who - as always - seeks the assistance of his trusty sidekick, headmistress Janet Gibson to bring the killer to justice. Together they seem to be unravelling the mystery piece by piece, but little do they know that their investigations will soon see an older unsolved local killing resurrected from the grave. This fantastic page-turner of a murder mystery is the latest release from much-loved and critically acclaimed author James London, who brings his usual fresh and unique style to this popular genre. The book will appeal to a wide range of readers, including fans of traditional British detective fare and those who have either holidayed in or live on the beautiful island.
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Essays by leading intellectuals and public figures explore extreme events, environments, and achievements.
This volume seeks to instigate a discussion about dementia in theatre. The discussions in this book borrow from the literature on dementia’s representation in other artforms, while reflecting on theatre’s unique capacity to incorporate multiple artforms in a live context (hypermediacy). The author examines constructions of diegesis and the use of various performance tools, including physical theatre, puppetry, and postdramatic performance. She discusses stage representations of interior experiences of dementia; selfhood in dementia; the demarcation of those with dementia from those without; endings, erasure, and the pursuit of catharsis; placelessness and disruptions of traditional dramatic constructions of time; and ultimately, performances creatively led by people with dementia. The book traces patterns of narrativisation on the stage—including common dramaturgical forms, settings, and character relationships—as well as examples that transcend mainstream representation. This book is important reading for theatre and performance students, scholars, and practitioners, as well as cultural studies writers engaged in research about narratives of dementia.