Is/ Was by Jenny Sampirisi

By Jenny Sampirisi

Set within the Eighties, while photos of lacking youngsters first occupied the mass media, is/was explores one town's advanced emotional response to the brutal rape and homicide of a kid inside its bounds.

It is October 1983 and eight-year-old Abigail Wren has disappeared from a tiny Ontario city. within the crosscuts and fragments of every day's information, observe of her abduction filters into the afflicted Fitch family members loved ones. Roland Fitch turns into unhinged by means of lengthy stored secrets and techniques, whereas his spouse, Eva, turns inwards, tracing the aftermath of her personal surgically targeted loss. within the days and weeks following Abigail's loss of life, the Fitch teenagers, Andrew and Isabel, are more and more left to dad or mum themselves. because the already tenuous barriers among kinfolk are slowly effaced, as soon as strong definitions — of the kid, the grownup, and the group — come unmoored.

At its middle, is/was is an unflinching meditation set on the very fringe of human limits. the bounds of language, media, and the physique itself rework to carry the complicated currents of lust and shortage. This considerate first novel isn't reductive, yet with subtlety and nuance, unfolds the poor trajectory of loss.

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Michael Bristol argues in Big-Time Shakespeare that: ‘Commercial profit rather than a wish to guarantee the durable public value of Shakespeare is the motive that best accounts for the diverse enterprises of ... ’5 Certainly Shakespeare in Love was produced for commercial profit; yet I would argue that ‘durable public value’ ensures ‘commercial profit’, and vice versa. The two factors are involved in a highly symbiotic relationship; therefore, the film both produces profit and perpetuates Shakespeare’s public value.

14. See Hodgdon; Sharon Ouditt, ‘Orlando: coming across the divide’, in Deborah Cartmell and Imelda Whelehan (eds), Adaptations: from text to screen, screen to text (London: Routledge, 1999), pp. 146–56. 15. Virginia Woolf, Orlando (1928; San Diego: Harvest/HBJ, 1956), p. 22. 16. Woolf, p. 27. 17. 2–9. All references to The Faerie Queene are taken from the Longman edition, ed. C. Hamilton (London and New York: Longman, 1977). 18. Ouditt, p. 155. 19. 1–7. 20. Woolf, p. 24. 21. 1–9. 22. com>. 23.

125, issue 22, Academic Search Elite, Ebscohost, 20 May 2000. 38. Levin, Elizabeth, p. 4. 39. html>, para. 6. 40. William Shakespeare, Henry V, ed. 224–27. 41. shtml>. 42. Marc Norman and Tom Stoppard, Shakespeare in Love: A Screenplay (New York: Miramax Books/Hyperion, 1998), p. 155. 43. Williams, para. 2. 44. Christopher Hibbert, The Virgin Queen: Elizabeth I, genius of the Golden Age (Reading, Massachusetts: Addison-Wesley, 1991), p. 78. 3 Shakespeare in Love and the End(s) of History Elizabeth Klett The opening of John Madden’s Shakespeare in Love sets up a distinct historical period: the year is 1593, the audience has entered ‘the glory days of the Elizabethan theatre’,1 and is presented with the character of Will Shakespeare.

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