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By Richard Paul Haight
The Bronzes of Grand Junction is a verse drama in twelve scenes. It is suitable for full scale theatrical production, or minimal production, or readers' theater presentation (à la Under Milkwood, or "pageant" production (everyone in town plays a role). The players include a Narratorand six men and six women of any combintion of ages, race, ethnicity, and body build. These 12 players each play/read many characters. The Bronzes of Grand Junction are-were- ordinary people going about their ordinary lives on an ordinary day when suddenly, instantly bronzed, like baby shoes, "bestatued" right in from of reliable eyewitnesses. They are "a women with shopping bags," "a businessman, " "a homeless man," "a pretty gilr," and "a running child." The cause of this "miracle" is unknown and, as it turns out, unknowable. Could be the work of God, aliens, an artist, a magician, or a scientist putting an odd spin on genetics. The effect on the town of this phenomenon is far-reaching but not particularly profound. Local quarrel over whether the bronzes deserve "a decent burial" or should serve as a tourist attraction (of vast commercial benefit to the town, or someone). Visitors overrun the site where the bronzes sit and stand. Tourists arrive by the busload. Blue-collar folk, scientists, religious persons, cranks, poets, researchers, professors, and teenagers speculate about the cause of the phenomenon and weave fantasias about who th ebronzed ones were and why them. The bronzes give the world something to talk about and are the focus, therefore, of a wide range of speculation, personal projections, contentious opinions, and even a few thoughtful, compassionate responses. The responses are usually off-base as far as the actual lives of those bronzed, but would that not be expected? The effect of all these repsonses is an extended colloquy by (mostly) Americans (mostly) about themselves and their culture. That The Bronzes of Grand Junction is a "verse drama" should not alarm or put off those who have a negative attitude about "poetry." The play reads, and will strike the ear, as almost normal speech. The author uses rhyme to inspire better language than he can ordinarly muster, and he likes rhythm. Here are a couple of examples, first Abraham Falling Blue Father speaking about "the woman with shopping bags": Oh cruel white-man fate!
She is searching in a Target sack
of heartless plastic
for the answer
to her every prayer,
but she can search in those wishbags forever,
and not find the answer
even to wrinkles or vaginal dryness,
let alone flat affect or unhappiness
or anything serious. THIRD WOMAN FROM CAMBRIDGE And the inexorable spin of this, our bicycle in space, makes us upright even when we're upside down, and for a few turns warms our faces with the light of dawn, and says, to me at least, lucky you, you get to try again.
FORMAT: E-Book
By M. L. Matthews
When M.L. Matthews was a teenager, he found himself falsely accused of paternity; a DNA test proved he was not the father of the child in question. Even so, this false accusation had a tremendous impact on his life. In I Am Not the Father, he presents his own tale, as well as the stories of four other men falsely accused of paternity, in hopes of providing a better understanding of the consequences of such claims.
Each man dated the women making false claims—cared about them and had sex with them. Still, DNA tests proved that none of the men in this book were the biological fathers of the children birthed by the women who named them as the fathers of their children.
In-depth narrative interviews reveal how the couples met, how their relationships developed, why the men doubted the paternity of the children in question, and ultimately how the men reacted to finding out they were not fathers. Matthews then explores the shared qualities of the men’s relationships and suggestions on avoiding similar situations.
FORMAT: Softcover
By M. L. Matthews
When M.L. Matthews was a teenager, he found himself falsely accused of paternity; a DNA test proved he was not the father of the child in question. Even so, this false accusation had a tremendous impact on his life. In I Am Not the Father, he presents his own tale, as well as the stories of four other men falsely accused of paternity, in hopes of providing a better understanding of the consequences of such claims.
Each man dated the women making false claims—cared about them and had sex with them. Still, DNA tests proved that none of the men in this book were the biological fathers of the children birthed by the women who named them as the fathers of their children.
In-depth narrative interviews reveal how the couples met, how their relationships developed, why the men doubted the paternity of the children in question, and ultimately how the men reacted to finding out they were not fathers. Matthews then explores the shared qualities of the men’s relationships and suggestions on avoiding similar situations.
FORMAT: E-Book
By Mike Bamiloye
This is a thought provoking, captivating and inspiring story addressing some of the socio-spiritual problems afflicting many homes, especially in Africa. Stella, the first daughter of a successful business man was a brilliant young lady who faced a fiery flame of a broken home as a result of another woman stepping into her father's life. In this dramatic piece, we watch as she passed through various moments of painful embarrassing times to find meaning and stability for her life. A life of prostitution on a university campus leading to a nightmarish threat of HIV/AIDS, in addition to many other consequential crisis and the logical and spiritual solutions proffered all along the story make this dramatic piece very interesting for everyone. This story was made into an inspiring and highly entertaining TV Serial and broadcast on more than 75 TV stations in Nigeria and on many satellite channels including the AFRICAN MAGIC Channel of the M-Net, South Africa. The serial-movie is available on VCD and DVD from Mount Zion Film Productions. www.mzfm.info Any translation and enquiry should be directed to the publishers.
FORMAT: Softcover
By Catherine Elena Bailey
This book is about the trials and tribulations associated with the ownership and management of Farm Kanabeam situated in the most southwestern part of Namibia in Africa. The book describes, as best as history will recount, that period of time since its beginning to the present time of the turbulent, often violent and charismatic nature of this part of the world. It describes its last, and continuing ownership by a foreigner, an American who was finally able to bring the property under control and restore order. Possessing only meager resources poised against almost insurmountable odds control was restored through strong determination and at great risks. The book addresses former owners, their failures and in some cases their brutality. The book is well paced, words are not mixed and it is direct and to the point. It describes, in more than sufficient detail the plans, training, conflicts, sufferings of human and wildlife alike which have transpired on this beautiful but remote and isolated property. Kanabeam and its present operations may be viewed on website: www.Kanabeamexperience.com
FORMAT: Softcover
By Richard Paul Haight
The Bronzes of Grand Junction is a verse drama in twelve scenes. It is suitable for full scale theatrical production, or minimal production, or readers' theater presentation (à la Under Milkwood, or "pageant" production (everyone in town plays a role). The players include a Narratorand six men and six women of any combintion of ages, race, ethnicity, and body build. These 12 players each play/read many characters. The Bronzes of Grand Junction are-were- ordinary people going about their ordinary lives on an ordinary day when suddenly, instantly bronzed, like baby shoes, "bestatued" right in from of reliable eyewitnesses. They are "a women with shopping bags," "a businessman, " "a homeless man," "a pretty gilr," and "a running child." The cause of this "miracle" is unknown and, as it turns out, unknowable. Could be the work of God, aliens, an artist, a magician, or a scientist putting an odd spin on genetics. The effect on the town of this phenomenon is far-reaching but not particularly profound. Local quarrel over whether the bronzes deserve "a decent burial" or should serve as a tourist attraction (of vast commercial benefit to the town, or someone). Visitors overrun the site where the bronzes sit and stand. Tourists arrive by the busload. Blue-collar folk, scientists, religious persons, cranks, poets, researchers, professors, and teenagers speculate about the cause of the phenomenon and weave fantasias about who th ebronzed ones were and why them. The bronzes give the world something to talk about and are the focus, therefore, of a wide range of speculation, personal projections, contentious opinions, and even a few thoughtful, compassionate responses. The responses are usually off-base as far as the actual lives of those bronzed, but would that not be expected? The effect of all these repsonses is an extended colloquy by (mostly) Americans (mostly) about themselves and their culture. That The Bronzes of Grand Junction is a "verse drama" should not alarm or put off those who have a negative attitude about "poetry." The play reads, and will strike the ear, as almost normal speech. The author uses rhyme to inspire better language than he can ordinarly muster, and he likes rhythm. Here are a couple of examples, first Abraham Falling Blue Father speaking about "the woman with shopping bags": Oh cruel white-man fate!
She is searching in a Target sack
of heartless plastic
for the answer
to her every prayer,
but she can search in those wishbags forever,
and not find the answer
even to wrinkles or vaginal dryness,
let alone flat affect or unhappiness
or anything serious. THIRD WOMAN FROM CAMBRIDGE And the inexorable spin of this, our bicycle in space, makes us upright even when we're upside down, and for a few turns warms our faces with the light of dawn, and says, to me at least, lucky you, you get to try again.
FORMAT: Softcover
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