unstable presence who shares a toxic dependency with husband stanley, reminiscent of who's afraid of virginia woolfold comes odessa young's rose, a pregnant young newlywed whom the author initially torments and ridicules. oh, so the writing's going well, then? please don't ever ask me that again. but as shirley starts to write a story inspired by the real—life disappearance of paula jean welden, rosie and paula's identities begin to overlap with disorienting consequences. you are hiding something. based on a novel by susan scarf merrell, shirley is not a conventional biopic. rather, it's a work of fiction mixed with some fact that attempts to paint a screen portrait of shirley jackson that somehow echoes the tone of her eerily inimitable writing. you're getting on well with the wife. you don't want my work to suffer, too, do you? i'm not one for dramatics. inevitably that's a near impossible task, and there are plenty of moments when shirley proves as patience—testing as its embittered and frequently unlikeable subject. but there's something admirable about a film which is willing to take these kin

you had virginia woolf pulling points at the rovers return. he used to make me laugh...mrs huggett who used to literally do the cleaning for all the staff who lived in steller street, and he took each portrayal of each character, whether it was shakespeare a ha rd—hitting of each character, whether it was shakespeare a hard—hitting drama or a comedy ‘s batch —— comedy sketch, he approached everyone with the same level of respect and importance for that character. so, i always remember mrs huggett, the indignant injustice and pain and frustration at sean mrs huggett‘s face as she was picking up michael caine's underwear. he taught me so much, he never went, "i'm doing comedy, i'm doing acting." he always played the truth and that's what made him... you mentioned something, somebody had mentioned in one of the obituaries forjohn sessions. the idea of bringing together things, you are talking about coronation street. the idea of bringing things that are completely not possibly work, he would make them work. yes, he was a master ofjuxtaposition. sometimes, impressionism and

it could be a torison or virginia woolf. that's what it is. that's how we're constituted as human beings. >> mm-hmm. >> we'd rather take the easy way out -- status, moneywealth, and so forth. and, yet, the real spiritual and moral wealth that really does provide a deep joy, not just a superficial pleasure, is something that we provide as a door opening for young folk who want to enter this love of truth, beauty, goodness, and then, as christians, even love god, you see? but that's always the critical minority, but that's alright. >>n our classes, cornel wi often tell our students that, "you may not understand it, you might not even believe it, but let me tell you the real reason that you have co to princeton" or harvard or whatever university it is. "the real reason you have come is to learn how to die, because if you don't learn how to die, you're not gonna be able to know how to liv we learn how to die in order to learn how to live." and it's only in theerspective against the horizon of our own death that we can really get our values straigh

whether it is faulkner, whether it is virginia woolf, whether artist, portrait of the you needed 20thentury modernist. i am not saying you need faulkner. if it is an american literature course absolutely you do need faulkner. that, in some instances people might want to move from this is because he can be controversial. n wordcters use the all the time. he writes about racially fraught topics. i do not like the word trigger warnings, but i do give my students in my faulkner class, i a content advisor. we are going to have that word , murder ise rape assessed, bestie elegy, violent death. we are going to have every crime imaginable. i just want you to know that. the way a movie review will say why this movie got an r rating. in ank you've got to be american literature class that does not say you have to admire everything that is on that page. i myself think that literature when ismost alive not is presented as something to bow down before but something to wrestle with, to engage with. sometimes to admire and argue with. to fight with. that's when literature for me is most alive, when y