Rib Hillis and Eric Roberts stars in this low-budget sci-fi action feature. An explosion at a mine in Montana inadvertently unleashes a group of fearsome prehistoric dinosaurs that proceed to cause havoc on the nearby town. Cowboy Val Walker (Hillis), who has returned home to get a job and hopefully reunite with his ex-girlfriend Sky (Casey Fitzgerald), teams up with his estranged dad Trent (Roberts) and tries to use his rodeo skills to fight off the giant predators before they completely destroy the town.

Featuring new work from Rebecca Makkai, Aleksandar Hemon, Rachel Khong, Louise Erdrich, and more, the tenth and final installment of the boundary-pushing literary journal Freeman's, which explores all the ways of coming to an end Over the course of ten years, Freeman's has introduced the English-speaking world to countless writers of international import and acclaim, from Olga Tokarczuk to Valeria Luiselli, while also spotlighting brilliant writers working in English, from Tommy Orange to Tess Gunty. Now, in its last issue, this unique literary project ponders all the ways of reaching a fitting conclusion. For Sayaka Murata, keeping up with the comings and goings of fashion and its changing emotional landscapes can mean being left behind, while in her poem "Amenorrhea," Julia Alvarez experiences the end of a line as menstruation ceases. Yet sometimes an end is merely a beginning, as Barry Lopez meditates while walking through the snowy Oregonian landscapes. While Chinelo Okparanta's story "Fatu" confronts the end of a relationship under the specter of new life, other writers look towards aging as an opportunity for rebirth, such as Honorée Fanonne Jeffers, who takes on the role of being her own elder, comforting herself in the ways that her grandmother used to. Finally, in his comic story "Everyone at Dinner Has a Max von Sydow Story," Dave Eggers suggests that sometimes stories don't have neat or clean endings--that sometimes the middle is enough. With new writing from Sandra Cisneros, Colum McCann, Omar El Akkad, and Mieko Kawakami, Freeman's: Conclusions is a testament to the startling power of literature to conclude in a state of beauty, fear, and promise.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Evoking childhood memories and lifelong relationships with humour, poignancy, and preternatural clarity, What Possessed Me also explores the natural world and landscapes in various parts of England, Wales, France, and Greece. Another theme is the work of teaching and other professions seen from the vantage points of provider, recipient, and witness. There are salutes to writers like Edward Thomas, Dannie Abse and Jack Gilbert who, we are told, 'put his life into poetry.' Separate sequences celebrate years of occasional visits to Llandaff Cathedral and its surrounding landscape, and the delights and political revelations of a stay in Athens. This is a book diverse in its moods and subjects but unified by an infectious openness to the moment and to life's joys and sorrows, and an unfolding sense of accumulating experience and insight. It is illuminated by a recurrent sense of inspiration, of 'what possessed me.'

Contemporary theatre is going through a period of unparalleled excitement and challenge. Terms like 'postmodern' and 'postdramatic' have their own contested and defended histories, while notions of truth in verbatim theatre are open to serious critical challenge. Theatre writing can result in no words being spoken and nothing appearing on the page, and productions are stretching the boundaries of space, place and context like never before. This revised and significantly expanded edition of New Performance/New Writing explores immersive and solo theatre, autoethnography, applied drama, performance writing, plot, story, narrative and devising. It presents an invaluable response to questions that arise from new theatre, prompting active reading that enhances classroom and workshop learning, and improves productivity in rehearsal. Each chapter explores a key aspect of theatre study, while an extensive timeline of theatre events gives a broad overview of its evolution. Case studies on practitioners as diverse as Kneehigh, Punchdrunk, Mark Ravenhill and Forced Entertainment are scattered throughout the book, along with detailed suggestions for workshops, which encourage readers to test some of the book's ideas in practice.

When research is so connected to personal interest, experience, and familiarity that objectivity becomes a moveable feast, the line between documentation and invention blurs to near-invisibility. John Freeman asks what it means to locate oneself into research findings and narrative reports, and what happens when one's self goes further and becomes the research. Subjecting received truths to a series of hard questions, readers are taken on a journey through self-performance; traumatic memoir; the lure of weasel words; emotional evocation; the vagaries of memory; creative nonfiction; cultural appropriation; illusion masquerading as truth and the complex ethics of university research. Case studies from international autoethnographers run through the book and appendices provide invaluable advice to university researchers and supervisors. The result is a work that sheds new light on forms of narrative research that connect writers' personal stories to the participatory cultures under investigation.

Better Worlds: Education, Art, and Utopia provides a fresh examination of utopia and education. Adopting an interdisciplinary approach and drawing on literature and the visual arts as well as traditional non-fiction sources, the authors explore utopia not as a model of social perfection but as the active, imaginative building of better worlds. Utopian questions, they argue, lie at the heart of education, and addressing such questions demands attention not just to matters of theoretical principle but to the particulars of everyday life and experience. Taking utopia seriously in educational thought also involves a consideration of that which is dystopian. Utopia, this book suggests, is not something that is fixed, final, or ever fully realized; instead, it must be constantly recreated, and education, as an ongoing process of reflection, action, and transformation, has a central role to play in this process.

Thirty-six major contemporary writers examine life in a deeply divided America-including Anthony Doerr, Ann Patchett, Roxane Gay, Rebecca Solnit, Hector Tobar, Joyce Carol Oates, Edwidge Danticat, Richard Russo, Eula Bliss, Karen Russell, and many more America is broken. You don't need a fistful of statistics to know this. Visit any city, and evidence of our shattered social compact will present itself. From Appalachia to the Rust Belt and down to rural Texas, the gap between the wealthiest and the poorest stretches to unimaginable chasms. Whether the cause of this inequality is systemic injustice, the entrenchment of racism in our culture, the long war on drugs, or immigration policies, it endangers not only the American Dream but our very lives. In Tales of Two Americas, some of the literary world's most exciting writers look beyond numbers and wages to convey what it feels like to live in this divided nation. Their extraordinarily powerful stories, essays, and poems demonstrate how boundaries break down when experiences are shared, and that in sharing our stories we can help to alleviate a suffering that touches so many people.

This insightful and practically-focused collection brings together different approaches to actor training from professionals based at universities and conservatoires in the UK, the US and Australia. Exploring the cultural and institutional differences which affect actor training, and analysing developments in the field today, it addresses a range of different approaches, from Stanislavski's System to contemporary immersive theatre. With hands-on focus from some of the world's leading programmes, and attention paid to ethical control, consent and safe practice, this book sees expert tutors exploring pathways to sustainable 21st century careers. Designed for tutors, students and practitioners, Approaches to Actor Training examines what it means to train as an actor, what actors-in-training can expect from their programmes of study and how the road to professional accomplishment is mapped and travelled.

Better Worlds: Education, Art, and Utopia provides a fresh examination of utopia and education. Adopting an interdisciplinary approach and drawing on literature and the visual arts as well as traditional non-fiction sources, the authors explore utopia not as a model of social perfection but as the active, imaginative building of better worlds. Utopian questions, they argue, lie at the heart of education, and addressing such questions demands attention not just to matters of theoretical principle but to the particulars of everyday life and experience. Taking utopia seriously in educational thought also involves a consideration of that which is dystopian. Utopia, this book suggests, is not something that is fixed, final, or ever fully realized; instead, it must be constantly recreated, and education, as an ongoing process of reflection, action, and transformation, has a central role to play in this process.

What makes a particular performance 'great'? The Greatest Shows on Earth offers an address that focuses sharply on theatre as performance: as an event that can stir the blood, the spirit and the brain like nothing else. The result is a book about fourteen outstanding theatre events from a dozen countries. In discrete, production-focused chapters, work from Peter Brook's King Lear through to the Sydney Olympics Opening Event is approached by a team of international scholars and practitioners, each describing in print that which existed in time and space and, most significantly, within specific contexts. What binds these chapters together is the conviction that whilst liveness disappears in a moment, spectatorship can translate into documentation that adds something to a work's value ... even as so much else can never be captured in words. In wrestling with ephemerality and memory, The Greatest Shows on Earth does more than make a case for what makes certain theatre great, it foregrounds analysis with emotion and writing with the type of first-person engagement that is usually edited out rather than invited in. John Freeman lectures in Performance Studies at Curtin University, Perth, Western Australia. He has written extensively on theatre, art, pedagogy and research for numerous international journals, newspapers, magazines, books, government and funding agencies, galleries, festivals and consultancy panels. The Greatest Shows on Earth is his fifth book.

This is the definitive practical guide to getting the most out of your digital SLR camera, written by top working photographer, John Freeman. Full of inspiring photography and professional tips, it is ideal for all keen amateur photographers and those aspiring to move over from using a traditional film SLR camera. The digital single lens reflex (DSLR) camera is now the must-have camera for all serious amateur photographers. Whether you already own one or are thinking of making the move from a point-and-shoot digital camera or a film SLR, this practical guide will provide all the help, advice and inspiration you need. Chapters include: understanding the DSLR system, seeing the picture, photographing landscapes, nature, people, architecture, still life, action, getting more from your DSLR and post-production techniques. Updates include: New product images and updated technical information.

A selection of the best and most representative contemporary American short fiction from 1970 to 2020, including such authors as Ursula K. LeGuin, Toni Cade Bambara, Jhumpa Lahiri, Sandra Cisneros, and Ted Chiang, hand-selected by celebrated editor and anthologist John Freeman In the past fifty years, the American short story has changed dramatically. New voices, forms, and mixtures of styles have brought this unique genre a thrilling burst of energy. The Penguin Book of the Modern American Short Story celebrates this avalanche of talent. This rich anthology begins in 1970 and brings together a half century of powerful American short stories from all genres, including-for the first time in a collection of this scale-science fiction, horror, and fantasy, placing writers such as Ursula K. Le Guin, Ken Liu, and Stephen King next to some beloved greats of the literary form: Raymond Carver, Grace Paley, Chimamanda Ngozi Adichie, and Denis Johnson. Culling widely, John Freeman, the former editor of Granta and now editor of his own literary annual, brings forward some astonishing work to be regarded in a new light. Often overlooked tales by Dorothy Allison, Percival Everett, and Charles Johnson will recast the shape and texture of today's enlarging atmosphere of literary dialogue. Stories by Lauren Groff and Ted Chiang raise the specter of engagement in ecocidal times. Short tales by Tobias Wolff, George Saunders, and Lydia Davis rub shoulders with near novellas by Susan Sontag and Andrew Holleran. This book will be a treasure trove for readers, writers, and teachers alike.

Tracing the Footprints is aimed at students, teachers, practitioners and lecturers involved in the documentation of practice. On a surface level, it documents the construction of a performance project, 'At Last Sight, ' which was made with a group of final year UK undergraduates. Beyond this, and more importantly, the book serves as a unique document of the activities involved in articulating the processes of live performance. What the book demonstrates is that theatre making is not just one process but many; all linked, interwoven, impossible to disentangle

The latest installment from "a powerful force in the literary world" (Los Angeles Times) Freeman's turns to one of the greatest elevating forces of life: love In a time of contentiousness and flagrant abuse, it often feels as if our world is run on hate. Invective. Cruelty and sadism. But is it possible the greatest and most powerful force is love? In the newest issue of this acclaimed series, Freeman's Love asks this question, bringing together literary heavyweights like Tommy Orange, Anne Carson, Louise Erdrich, and Nobel Prize winner Olga Tokarczuk alongside emerging writers such as Gunnhild Oyehaug and Semezdin Mehmedinovic. Mehmedinovic contributes a breathtaking book-length essay on the aftermath of his wife's stroke, describing how the two reassembled their lives outside their home country of Bosnia. Richard Russo's charming and painful "Good People" introduces us to two sets of married professors who have been together for decades, and for whom love still exists, but between the wrong pair. Haruki Murakami tells the tale of a one-night stand that feels like a dying sun. Together, the pieces comprise a stunning exploration of the complexities of love, tracing it from its earliest stirrings, to the forbidden places where it emerges against reason, to loss so deep it changes the color of perception. In a time when we need it the most, this issue promises what only love can bring: a solace of complexity and warmth.

For John Freeman - literary critic, essayist, editor, poet and 'one of the preeminent book people of our time' (Dave Eggers) - it is a rare moment when words are not enough. But in the wake of the election of 2016, words felt useless, even indulgent. Action was the only reasonable response. He took to the streets in protest and the sense of community and collective conviction felt right. But the assaults continued - on citizens' rights and long-held compacts, on the core principles of our culture and civilisation, and on our language itself. Words seemed to be losing the meanings they once had and Freeman was compelled to return to their defence. The result is his Dictionary of the Undoing. From A to Z, 'Agitate' to 'Zygote,' Freeman assembled the words that felt most essential, most potent, and began to build a case for their renewed power and authority, each word building on the last. The message that emerged was not to retreat behind books, but to emphatically engage in the public sphere, to redefine what it means to be a literary citizen. With an afterword by Valeria Luiselli, Dictionary of the Undoing is a necessary, resounding cri de coeur in defense of language, meaning, and our ability to imagine, describe, and build a better world.

Barker, Barnes, Hollinghurst, Ishiguro, Mitchell, Rushdie, Smith, Tremain, Winterson ...Long before they were household names, they were Granta Best of Young British Novelists. With each Young Novelist list - in 1983, 1993, and 2003 - came new ways of witnessing the world, introductions to unforgettable characters and mysterious and addictive voices. In 2013, thirty years after the first collection, the magazine asked once again: which writers are setting the bar for a new decade in British literature?