Bøger udgivet af MARION BOYARS INC

Ivan Illich's theories on the effectiveness of cars, air travel and energy showed that industrial progress hampers speed and efficiency.

A modern musical genius speaks out in a unique collection of interviews, lectures and statements.

Gebler's prose style is the perfect instrument with which to probe a reader's heart.--Will Self

Having begun life as Guyanan village idiot, Kwaku Cholmondeley quickly learned that he was perfect for the part: "A quick look round at his fellow men convinced him that there was much protection in idiocy, and that intelligence was like the plimpla palm, bearer of good fruit but afflicted with thorns". But Kwaku still retains his childhood dreams of a glorious destiny and decides to set off on a search for the ideal wife, the perfect job and the easy life. Roy Heath's brilliantly conceived and hugely enjoyable story follows his trials and tribulations as Kwaku, part conman and part holy fool, fanatically hustles and schemes his way to happiness, rising up and then being brought low by his joyously unbuttoned lip.

Kwaku is back; a small-time chiseller and ineffective healer in a village in Guyana but now down in the dumps: his wife has gone blind, his twin sons brutalize him, he is toppled from his perch as a healer and becomes once again the laughing stock of all and sundry. But fate intervenes, and Kwaku's fortunes are resurrected as he makes his way to Georgetown to become a dealer in 'antique' chamber pots. With a recommendation and some borrowed cash from an old woman whose son has become a government minister, he embarks on an odyssey in search of riches, only to find himself a lowly servant of the corrupt minister who steals his ideas and sends him on demeaning errands designed to further the minister's financial scams, sexual peccadillos and political intrigues. Kwaku now faces the dilemma of going under - the fate of so many who migrate from the country to the town - or adapting his character to suit his urban existence. What distinguishes this novel is the closely observed psychological metamorphosis of Kwaku. Just barely escaping from a murderous gang, he finally succeeds in establishing himself as a respected, wealthy citizen - whilst remaining, of course, his own inimitable, infuriating, brilliantly engaging self. In this bright and comic novel, Roy Heath deals vividly with the social and political conflicts and conundrums facing the nouveaux riches in the third world and the staggeringly poor, emerging into independence and unheard-of prospects. The colourful language of the characters is perfectly captured, and their shenanigans and valour are depicted with wit and compassion.

These four one-act plays deal with the African-American experience of today. Their central elements are love and hatred echoed in violently explosive words, actions, thoughts and metaphor. The sum total of three hundred years of contained fury, they are powerful statements about the real meaning of white oppression of black people. In their militancy and anger, they perfectly express the mood and frustrations of black America and are as relevant today as when they were first publicly performed. This new edition of Four Black Revolutionary Plays also includes a Foreword by playwright, novelist, journalist and lecturer Lindsay Barrett, who has also made widely acclaimed radio and TV programs on jazz, the arts and African cultural matters.

Hiroshima Notes is a moving statement from Japan's most celebrated living writer on the meaning of the Hiroshima bombing and its terrible legacy. Kenzaburo Oe's account of the lives of the many victims of Hiroshima - the young, the old, women and children - and the valiant efforts of the doctors who care for them, both immediately after the atomic blast and in the years to come, reveals the horrific extent of the devastation wrought. In Hiroshima Notes, Oe offers a sensitive portrayal of the people of the city - the 'human face' in the midst of atomic destruction. The lives Oe describes and his insights into the nature of human dignity are an indictment of the Nuclear Age as powerful as the ruins in the Hiroshima Peace Park.

This whimsical book about the eccentric Parisian composer Erik Alfred Leslie Satie (1866-1925) confirms his position as one of the most bizarre personalities in music history. Gathered by a determined iconographer, thedirector of the Satie Foundation in Paris, and arranged somewhat chronologically by topic, such as "Friends," and "Lawsuits," these lettersto Cocteau, Debussy, Milhaud, Picasso, Ravel and Stravinsky, among others,many of which have not been previously published, give us a picture of Satie the friend, student, neighbor, composer and musical influence, and of the only adherent to a religion that he founded. Illustrated with line line drawings by Cocteau, Magritte and Picasso, as well as Satie's own musical scores and logos, this book will entrance and delight those interested in Parisian cultural life in the early 20th century.

Jean Cocteau (1889-1963) was a poet, a novelist, a playwright, an artist, an impresario, dandy and socialite. Friend to many of the most daringly original and socially dazzling fgures to be found in Paris at the height of its fame in the early part of this century as the teeming centre of the modernist world, Cocteau collaborated with such luminaries as Picasso, Stravinsky, Satie and Diaghilev. Jean Cocteau was only a small child when the Lumiere brothers first demonstrated their remarkable new invention, moving pidures, and his own artistic development coincided with that of the twentieth century's most important new medium. When given the chance to make his first film (The Blood of the Poet) in 1931, Cocteau embraced the new medium with the originality and verve that were his hallmark. Over the next thirty years, up to the time of his last film (The Testament of Orpheus) in 1960, Cocteau made eight films, wrote essays on the cinema and film criticism which bore witness to his passionate affair with the moving image. This collection of his writings on film illuminates Cocteau's own work for the cinema, with detailed discussions of his aims, responses to criticism and his reflections on the relationship between cinema and theatre. Among several occasional pieces, Cocteau comments on the movie stars he admires - Marlene Dietrich, Brigitte Bardot, James Dean and Robert Montgomery - as well as the achievements of such great directors as Chaplin and Orson Welles. The final section in this volume contains what is perhaps the most remarkable and unique material, offering insights into the mind of a visual poet through the previously unpublished synopses of unrealized film projects. Cocteau'stwo screenplays The Blood of a Poet and The Testament of Orpheus are published together by Marion Boyars under the title Two Screenplays.

The sixties on celluloid: how Hollywood lost its mind, got hip, then blew its cool.

Merce Cunningham not only discusses compositions but also reveals a great deal about his collaborations with modern masters such as John Cage, Robert Rauschenberg, David Tudor, Jasper Johns and Morris Graves. Merce Cunningham talks and explains with the same fluidity and expansiveness that is notable when he dances.

Combines a study of Chinese history, literature, religion and politics to analyse how the role of women has evolved.