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It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other. The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love.
Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation. Her sentences will take your breath away.
How lucky we are to have her telling our stories. She was awed by her mother and aunts and cousins, but haunted by the unspoken, untold stories of the barrio—even as she tried to find her own voice in the sea of language around her, written and spoken, English and Spanish, bodies and books, Western art and sacred altars. A Streetcar Named Desire is the tale of a catastrophic confrontation between fantasy and reality, embodied in the characters of Blanche DuBois and Stanley Kowalski.
Fading southern belle Blanche DuBois is adrift in the modern world. When she arrives to stay with her sister Stella in a crowded, boisterous corner of New Orleans, her delusions of grandeur bring her into conflict with Stella's crude, brutish husband Stanley Kowalski. Eventually their violent collision course causes Blanche's fragile sense of identity to crumble, threatening to destroy her sanity and her one chance of happiness.
From an inauspicious beginning at the tiny Left Bank Theatre de Babylone in , followed by bewilderment among American and British audiences, Waiting for Godot has become of the most important and enigmatic plays of the past fifty years and a cornerstone of twentieth-century drama. Vladimir and Estragon wait near a tree, inhabiting a drama spun of their own consciousness. His play remains one of the most magical and beautiful allegories of our time. This anthology of 18 plays offers a convenient and affordable alternative to ordering individual play scripts, with the additional benefit of a general introduction and headnotes.
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Chief Justice Earl Warren worried that 'broad language used here may eventually be applied to the arts and sciences and freedom of communication generally,' but, agreeing that obscenity is not constitutionally protected, concurred only in the judgment.
Justices Hugo Black and William O. Douglas, First Amendment 'literalists,' dissented in Roth , arguing vigorously that the First Amendment protected obscene material. Justice John Marshall Harlan II dissented in Roth , involving a federal statute, but concurred in Alberts , involving a state law, on the grounds that while states had broad power to prosecute obscenity, the federal government did not.
In Memoirs v. Massachusetts , [2] a plurality of the Court further redefined the Roth test by holding unprotected only that which is 'patently offensive' and 'utterly without redeeming social value,' but no opinion in that case could command a majority of the Court either, and the state of the law in the obscenity field remained confused.
Pornography and sexually oriented publications proliferated as a result of the Warren Court's holdings, the 'Sexual Revolution' of the s flowered, and pressure increasingly came on the Court to allow leeway for state and local governments to crack down on obscenity.
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