Fiona M. Macintosh

Performing Epic or Telling Tales takes the new millennium as a starting point for an exploration of the turn to narrative in twenty-first-century theatre, which is often also a turn to Graeco-Roman epic. However, the dominant focus of the volume is less on 'what' the recent epic turn in the theatre consists of than 'why' it seems to be so prevalent: this turn is explained with reference not only to the translation and scholarly histories of the epics, but also to earlier performance traditions and, notably, to recent theoretical debates relating to text-based 'drama' and performance based 'theatre'. What is perhaps most remarkable about this epic turn is not simply the sheer number of outstanding performances that it has produced; it is also that recent practice appears to have outstripped much theoretical discussion about theatre. In chapters ranging from spoken word performances to ballet, from the use of machines and technology to performances that make space for voices occluded by the ancient epics, Performing Epic or Telling Tales seeks to contextualize and explain the 'narrative'/storytelling (re-)turn in recent live performances - a turn that regularly entails engagement with ancient Graeco-Roman epics, which have long provided poets, playwrights, artists, and theatre makers with a storehouse of rich, often perceived as 'raw', material. Refigured and refracted for the modern era, the epics of ancient Greece and Rome are found to be particularly revealing, and particularly 'telling' of the contemporary wider cultural sphere.

Rosa of the Wild Grass, the Story of a Nicaraguan Family is a true story which spans the last fifty years of the life of this small Central American republic. This fascinating and deeply moving personal and family chronicle brings alive the tumult of events in a way no textbook of contemporary politics could achieve. Rosa and three generations of her family, especially her mother and her daughters, recall life under the Somoza dictatorship and the carnage of the insurrection which ended it; the hopes kindled by the Sandinista Revolution in 1979, and their eclipse by the destruction and cruelty of the Contra War; the subsequent years of neo-liberalism and the retreat from many of the social advances achieved; and the continuing battle to keep alive community spirit at home. Rosa reveals the catholic church both progressive and conservative; evangelical groups; the beliefs in saints, witchcraft, and traditional remedies; literacy and health campaigns, land reform, and trade unions; military service and bereavement in war; unemployment and drug gangs; migration from countryside to city and back again, and abroad to Costa Rica and the US; wide-scale alcoholism and domestic violence; the strength of women's networking, and their schemes for survival and co-operative ventures; and through it all the vital support of extended families. Rosa is an excellent resource for students and teachers in the field of Latin America, gender politics, human rights and international development. More than that, it is a wonderful human story that will appeal to readers everywhere. Rosa of the Wild Grass is dramatically visualized with stark illustrations painted by the author.

Rosa of the Wild Grass is a memoir written in the first-person and is accessible as an entertaining and easy read to reach a wide audience. It is also an excellent resource for students and teachers of Latin American Studies, Gender Politics, Globalization, Human and Trade Union Rights.Rosa's story explains a great deal about Nicaragua, especially from a woman's point of view. The intimacy and immediacy captured in this work inspired the author to paint a series of stark black and white images to illustrate this story.