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  Swan Song

  Anton Chekhov

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  In 'The Swan Song' an aging actor reminisces about his life and the parts he's played. The piece takes a tragic look at ambition and the sacrifices that must be made in order to succeed. Chekhov’s ability to capture and explore human nature and experience is showcased here. (Summary by Lucy Perry)Cast:VASILI SVIETLOVIDOFF, a comedian, 68 years old -  Peter YearsleyNIKITA IVANITCH, a prompter, an old man -  PhillippaNarrated by  Lucy PerryAudio edited by Peter Yearsley

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  The Raven

  Edgar Allan Poe

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  "The Raven" is a narrative poem by American writer Edgar Allan Poe. First published in January 1845, the poem is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a distraught lover who is paid a mysterious visit by a talking raven. The lover, often identified as a student is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further antagonize the protagonist with its constant repetition of the word "Nevermore". The poem makes use of folk, mythological, religious, and classical references.

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  Don Juan

  Lorenzo da Ponte

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  Don Juan (Spanish), Don Giovanni (Italian) is a legendary, fictional libertine.  Although the various iterations of the Don Juan myth show some variation, the basic story remains the same. Don Juan is portrayed as a wealthy, seductive libertine who devotes his life to seducing women, taking great pride in his ability to seduce women of all ages and stations in life. Don Giovanni, an opera composed by Wolfgang Amadeus Mozart with libretto by Lorenzo da Ponte, is arguably the best-known version. First performed in Prague in 1787, it inspired works by E. T. A. Hoffmann, Alexander Pushkin, Søren Kierkegaard, George Bernard Shaw, and Albert Camus.Here, Librivox volunteers read an English translation of da Ponte's libretto.Dramatis Personae:Don Juan: Beth ThomasDonna Anna: AvailleDon Octavio: ToddHWDon Pedro: alanmapstoneDonna Elvira: Elizabeth KlettLeperello: Larry WilsonZerlina: Kristin GjerløwMasetto: John BurlinsonChorus woman: rotgoldChorus woman: KHandStage Directions & Editor: MaryAnnS

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  Vandemonian

  Cliff Forshaw

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  Vandemonian is a detailed, impassioned poetic history of Van Dieman's land, Tasmania. Poems in a variety of voices lay out the island's early story, exploring the truths of colonisation. Forshaw blends historical fact, imagined events and contemporary reflection with religion, geography and the great unknown to produce a portrait of discovery, disenfranchisement and extinction.
  
  "An imagination like no other, transforming the world you thought you knew"
  
  Jon Stallworthy
  
  "These are poems captained by a large intelligence and abundant lexical vigour, poems of voyage, exertion and discovery."
  
  Carol Rumens on Wake
  Cliff Forshaw now teaches at Hull University. A former winner of the Welsh Academi John Tripp Award, and Blue Nose Poet of the Year, his pamphlet Wake was joint-winner of the Flarestack Pamphlet Competition in 2009. His latest chapbook, Tiger (Happenstance, 2011), about the Tasmanian Tiger, came out of his term as International Writer-in-Residence at Hobart.
  This book is also available as an ebook: buy it from Amazon for here.

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  Conjure

  Rae Armantrout

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  A Pulitzer prize-winning poet “offers a glimpse into her visionary world in her stunning 16th collection. . . . [D]eeply insightful.” (Publishers Weekly, starred review)   Like magic, these succinct poems reveal multiple realities Rae Armantrout has always taken pleasure in uncertainties and conundrums, the tricky nuances of language and feeling. In Conjure that pleasure is matched by dread; fascination meets fear as the poet considers the emergence of new life (twin granddaughters) into an increasingly toxic world: the Amazon smolders, children are caged or die crossing rivers and oceans, and weddings make convenient targets for drone strikes. These poems explore the restless border between self and non-self and ask us to look with new eyes at what we're doing. “In this volume, Armantrout addresses topics familiar from her earlier work: the nature of consciousness, aging, the looming ecological crisis, the vacuousness of much of what passes for public discourse.” ―Simon Collings, StrideMagazine   “Conjure offers a magic of its own, with sometimes sly and always unforgettable juxtapositions of the minute and the exceptional, elevated by the intellect, flair, and confidence of a poet at the top of her game.” ―Mandana Chaffa, Ploughshares   “Unsettling, slippery intimations move just below the surface of Rae Armantrout’s enigmatic and unforgettable new collection of poems. For the record, Rae Armantrout is my favourite living poet.” ―Nick Cave  

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  Goodness

  Michael Redhill

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  Winner of the Best of the Edinburgh Fringe Prize
   
  Althea: Do you believe in your own death? Every moment you are alive is endless and the present goes on and on with you inside it. Of course the end is truly coming, but it’s so far off, and in the meantime the spring bulbs need bringing out of the dark and the windows must be cleaned. These distant murmurings of unrest are like the way you sometimes hear your name on the wind and you shudder. Because it’s eerie that the wind should know your name.
   
  This remarkable autobiographical play by the award-winning author of Building Jerusalem and Martin Sloane, is a Russian-doll-like play: concentric stories enveloping each other. A writer is told, in confidence, a terrible tale of murder and injustice and he promises never to repeat the story. Goodness is the writer breaking his word.
   
  Recently divorced, Michael Redhill goes to Poland to get away from his life and to do some research on the Holocaust. Thwarted by witnesses unwilling to talk, he returns home via England, but in London is introduced to someone who can tell him a 'real' story of evil. Through this reluctant witness, Redhill learns of a genocide. He encounters, through the memory of the storyteller, an alleged war criminal, about to be put on trial. But this is an old man with Alzheimer's who can no longer remember the time his crimes were allegedly committed. Has his guilt dissolved with his memory? Could he be pretending to be ill in order to escape punishment? The witness conjures for Redhill the war criminal's passionate and beautiful daughter, who will defend her father at all costs. There is also the prosecuting attorney, who has much in common with the old man whose destruction he seeks. As well as an uncomfortable attraction to his daughter. Each is drawn to theother. All is witnessed by a female prison guard - the one who tells the playwright, years later, what really happened in the quest to give a nation some closure. Everyone's story is compelling, and the ending is as unexpected as it is shocking.
   
  Who do we believe? A prison guard still wounded by history? A writer suffering from heartache? A dying war criminal? What is our responsibility? Who does memory serve? Did the past really happen? And if it did, who has a claim on it?
   
  Goodness is a play about what happens in the gaps between experiencing, telling and hearing.

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