Edward Burns – författare

This monumental collection of correspondence between Gertrude Stein and critic, novelist, and photographer Carl Van Vechten provides crucial insight into Stein's life, art, and artistic milieu as well as Van Vechten's support of major cultural projects, such as the Harlem Renaissance. From their first meeting in 1913, Stein and Van Vechten formed a unique and powerful relationship, and Van Vechten worked vigorously to publish and promote Stein's work. Existing biographies of Stein-including her own autobiographical writings-omit a great deal about her experiences and thought. They lack the ordinary detail of what Stein called "daily everyday living": the immediate concerns, objects, people, and places that were the grist for her writing. These letters not only vividly represent those details but also showcase Stein and Van Vechten's private selves as writers. Edward Burns's extensive annotations include detailed cross-referencing of source materials.

The book enlarges the usual focus with a wider range of writers than the conventional ossified canon taking in a revaluation of many rarely studied dramatists, a reconsideration of pastoral, and the instatement of women writers as major contributors to the culture of the age.

Richard III has the status of a monster, in British culture, and the continuous popularity of Shakespeare’s play has done much to foster this. Deformity and distortionoperate through this myth on many levels. This study is an essay in five ‘distortions’, tracking the way the play manipulates and explores fundamental human concerns;the body, history,, theatre, childhood and family and the mirrors and shadows of individual identity and self-knowledge.

On tissue-thin paper in a tiny, often undecipherable hand, Alice Toklas described her daily life in Paris in absorbing detail, like a latter-day Madame de Sévigné. Here are shrewd, witty observations on some of the most interesting artists, musicians, and writers of the twentieth century: Thornton Wilder, Carl Van Vechten, Edith Sitwell, Anita Loos, Cecil Beaton, Janet Flanner, Bennett Cerf, among others. There are stories about Picasso, Hemingway, Fitzgerald, Juan Gris, Cocteau, and Sartre--all revealing a sharp eye that was as much a part of Alice as her devotion to Gertrude and her passion for recipes and gardening.In preparing this collection, the editor has chosen letters of biographical, literary, and artistic significance to an understanding of Gertrude Stein and her circle, letters illustrating the catholicity of Alice Toklas's friendships and the quality of her gifts, and letters that simply delight for their gossip.

An Irish-American family comes to life through the eyes of a 12-year-old boy in this debut novel by actor-filmmaker Ed Burns. Immigrants and storytellers, lilting voices and Long Island moxie are all part of this colorful Irish-Catholic community in 1970s New York.Our twelve-year-old narrator, an aspiring writer, is at a wake. He takes in the death of his beloved grandfather, Pop, a larger-than-life figure. The overflowing crowd—a sign of a life well lived—comprises sandhogs in their muddy work boots, Irish grandmothers in black dresses, cops in uniform, members of the family deep in mourning. He watches it all, not yet realizing how this Irish American world defines who he is and who he will become. His older brother Tommy has no patience for rules and domesticities, his father is emotionally elsewhere. This boy knows he’s the best thing his mother's got, though her sadness envelops them both.   In A Kid from Marlboro Road, past and present intermingle as family stories are told and retold. The narrative careens between the prior generation’s colorful sojourns in the Bronx and Hell’s Kitchen and the softer world of Gibson, the town on Long Island where they live now. There are scenes in the Rockaways, at Belmont racetrack, and in Montauk.Edward Burns’s buoyant first novel is a bildungsroman. Out of one boy’s story a collective warmth emerges, a certain kind of American tale, raucous and joyous. With eight pages of photographs of some of the people and historical locations that inspired characters and scenes in the novel.

The notorious corner of West Fayette and Monroe Streets in Baltimore is a 24-hour open-air drug market that provides the economic fuel for a dying neighbourhood. Through the eyes of one broken family - two drug-addicted adults and their smart, vulnerable fifteen-year-old son, DeAndre McCollough - Simon and Burns examine the sinister realities of inner cities across the USA and unflinchingly assess why law enforcement policies, moral crusades and the welfare system have accomplished so little.

A fresh look at a play usually regarded as the first component of a three-part historical epic, this edition argues that Henry VI Part 1 is a 'prequel', a freestanding piece that returns for ironic and dramatic effect to a story already familiar to its audience. The play's ingenious use of stage space is closely analysed, as is its manipulation of a series of setpiece combats to give a coherent syntax of action. Discussion of the dramatic structure created by the opposing figures of Talbot and Jeanne la Pucelle, and exploration of the critical controversies surrounding the figure of Jeanne, lead to a reflection on the nature of the history play as genre in the 1590s.

A fresh look at a play usually regarded as the first component of a three-part historical epic, this edition argues that Henry VI Part 1 is a 'prequel', a freestanding piece that returns for ironic and dramatic effect to a story already familiar to its audience. The play's ingenious use of stage space is closely analysed, as is its manipulation of a series of setpiece combats to give a coherent syntax of action. Discussion of the dramatic structure created by the opposing figures of Talbot and Jeanne la Pucelle, and exploration of the critical controversies surrounding the figure of Jeanne, lead to a reflection on the nature of the history play as genre in the 1590s.