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Sherman Alexie
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Sherman Alexie
Alexie at the Texas Book Festival in 2008
Born
Sherman Joseph Alexie, Jr.
(1966-10-07) October 7, 1966 (age 51)
Wellpinit, Washington, U.S.
Occupation
Author, poet, screenwriter, filmmaker
Nationality
Spokane
Coeur d'Alene
American
Genre
Native American literature, humor, documentary fiction
Literary movement
Indigenous Nationalism
Notable works
• The Absolutely True Diary of a Part-Time Indian
• Smoke Signals
• Reservation Blues
• The Lone Ranger and Tonto Fistfight in Heaven
• War Dances
Notable awards
American Book Award
1996
National Book Award
2007
PEN/Faulkner
2010
Website
fallsapart.com
Sherman Joseph Alexie, Jr. (born October 7, 1966) is a Spokane-Coeur d'Alene-American novelist, short story writer, poet, and filmmaker. His writings draw on his experiences as an Indigenous American with ancestry from several tribes. He grew up on the Spokane Indian Reservation and now lives in Seattle, Washington.[1]
His best-known book is The Lone Ranger and Tonto Fistfight in Heaven (1993), a collection of short stories. It was adapted as the film Smoke Signals (1998), for which he also wrote the screenplay.
His first novel Reservation Blues received one of the fifteen 1996 American Book Awards.[2] His first young adult novel, The Absolutely True Diary of a Part-Time Indian (2007), is a semi-autobiographical novel that won the 2007 U.S. National Book Award for Young People's Literature[3] and the Odyssey Award as best 2008 audiobook for young people (read by Alexie).[4] His 2009 collection of short stories and poems, War Dances, won the 2010 PEN/Faulkner Award for Fiction.[5]
Alexie is the guest editor of the 2015 Best American Poetry.
Contents
[hide]
1 Life
1.1 Childhood
1.2 Education
1.3 Today
2 Sexual harassment
3 Literary works
3.1 Themes
3.2 Influences
3.3 Arizona HB 2281
3.4 Poetry
3.5 Short stories
3.6 Novels
3.7 Memoir
3.8 Films
4 Bibliography
4.1 Poetry
4.1.1 Collections
4.1.2 Uncollected Poems
4.2 Memoir
4.3 Novels
4.4 Short fiction
4.4.1 Collections
4.4.2 List of short stories
5 Awards and honors
6 See also
7 References
8 External links and further reading
Life[edit]
Childhood[edit]
Alexie was born on October 7, 1966,[6] at Sacred Heart Hospital in Spokane, Washington. As a little child he lived on the Spokane Indian Reservation, located west of Spokane.[7] His father, Sherman Joseph Alexie, was a member of the Coeur d'Alene tribe, and his mother, Lillian Agnes Cox, was of Colville, Choctaw, Spokane and European American ancestry.[8] One of his paternal great-grandfathers was of Russian descent.[9] Alexie was born with hydrocephalus, a condition that occurs when there is an abnormally large amount of cerebral fluid in the cranial cavity.[10] He had to have brain surgery when he was six months old, and was at high risk of death or mental disabilities if he survived.[8] Alexie's surgery was successful; he suffered no mental damage but had other side effects.[10]
His parents were alcoholics though his mother was a sober alcoholic. His father often left the house on drinking binges for days at a time. To support her six children, Alexie's mother, Lillian, sewed quilts, worked as a clerk at the Wellpinit Trading Post and had some other jobs.[10]
Alexie has described his life at the reservation school as challenging because he was constantly teased by other kids as well as endured abuse he described as "torture" from teachers who were white nuns. They called him "The Globe" because his head was larger than usual, due to the hydrocephalus as an infant. Until the age of seven, Alexie suffered from seizures and bedwetting; he had to take strong drugs to control them.[10][11] Because of his health problems, he was excluded from many of the activities that are rites of passage for young Indian males.[11] Alexie excelled academically, reading everything available, including auto repair manuals.[12]
Education[edit]
In order to better his education, Alexie decided to leave the reservation and attend high school in Reardan, Washington.[10] The school was twenty-two miles off the reservation and Alexie was the only Native American student.[11] He excelled at his studies and became a star player on the basketball team, the Reardan High School Indians.[10] He was elected as class president and participated as a member of the debate team.[10]
His successes in high school won him a scholarship in 1985 to Gonzaga University, a Roman Catholic university in Spokane.[10][11] Originally, Alexie enrolled in the pre-med program with hopes of becoming a doctor,[11] but found he was squeamish during dissection in his anatomy classes.[11] Alexie switched to law, but found that was not suitable, either.[11] He felt enormous pressure to succeed in college, and consequently, he began drinking heavily to cope with his anxiety.[13] Unhappy with law, Alexie found comfort in literature classes.[11]
In 1987, he dropped out of Gonzaga and enrolled at Washington State University (WSU),[11] where he took a creative writing course taught by Alex Kuo, a respected poet of Chinese-American background. Alexie was at a low point in his life, and Kuo served as a mentor to him.[8] Kuo gave Alexie an anthology entitled Songs of This Earth on Turtle's Back, by Joseph Bruchac. Alexie said this book changed his life as it taught him "how to connect to non-Native literature in a new way".[8][11][14] He was inspired by reading works of poetry written by Native Americans.[8]
With his new appreciation of poetry, Alexie started working on what was published as his first collection, The Business of Fancydancing: Stories and Poems, published in 1992 through Hanging Loose Press.[8][15] With that success, Alexie stopped drinking and quit school just three credits short of a degree. However, in 1995, he was awarded a bachelor's degree from Washington State University.[11]
Today[edit]
In 2005, Alexie became a founding board member of Longhouse Media, a non-profit organization that is committed to teaching filmmaking skills to Native American youth and using media for cultural expression and social change. Alexie has long supported youth programs and initiatives dedicated to supporting at-risk Native youth.[16]
Alexie is married to Diane Tomhave, who is of Hidatsa, Ho-Chunk and Potawatomi heritage. They live in Seattle with their two sons.[15]
Sexual harassment[edit]
On February 28, 2018, Alexie published a statement regarding accusations of sexual harassment against him by several women, including author Litsa Dremousis with whom he'd had a consensual affair in the past and who claimed numerous women had spoken to her about Alexie's behavior.[17] Ms. Dremousis' response initially appeared on her Facebook page and was subsequently reprinted in The Stranger for March 1, 2018. [18] The fallout from these accusations includes the Institute of American Indian Arts renaming its Sherman Alexie Scholarship as the MFA Alumni Scholarship. The blog Native Americans in Children's Literature has deleted or modified all references to Alexie.[19] In February 2018 it was reported that the American Library Association, which had just awarded Alexie its Carnegie Medal for You Don't Have to Say You Love Me: A Memoir,[20] was reconsidering, and in March it was confirmed that Alexie had declined the award and was postponing the publication of a paperback version of the memoir [21][22] The American Indian Library Association rescinded its 2008 Best Young Adult Book Award from Mr. Alexie for The Absolute True Diary of a Part Time Indian sending the message that his actions are unacceptable. [23]
Literary works[edit]
Alexie's stories have been included in several short story anthologies, including The Best American Short Stories 2004, edited by Lorrie Moore; and Pushcart Prize XXIX of the Small Presses. Additionally, a number of his pieces have been published in various literary magazines and journals, as well as online publications.
Themes[edit]
Alexie's poetry, short stories and novels explore themes of despair, poverty, violence and alcoholism among the lives of Native American people, both on and off the reservation. They are lightened by wit and humor.[13] According to Sarah A. Quirk from the Dictionary of Library Biography, Alexie asks three questions across all of his works: "What does it mean to live as an Indian in this time? What does it mean to be an Indian man? Finally, what does it mean to live on an Indian reservation?"[8] The protagonists in most of his literary works exhibit a constant struggle with themselves and their own sense of powerlessness in white American society.[13]
Influences[edit]
Alexie’s writings are meant to evoke sadness, but at the same time, he uses humor and pop culture that leave the readers with a sense of respect, understanding, and compassion.[13] Alexie’s influences for his literary works do not rely solely on traditional Indian forms. He "blends elements of popular culture, Indian spirituality, and the drudgery of poverty-ridden reservation life to create his characters and the world they inhabit," according to Quirk.[8] Alexie's work is laced with often startling humor. According to Quirk, he does this as a "means of cultural survival for American Indians—survival in the face of the larger American culture's stereotypes of American Indians and their concomitant distillation of individual tribal characteristics into one pan-Indian consciousness."[8]
Arizona HB 2281[edit]
In 2012, Arizona's HB 2281 removed Alexie's works, along with those of others, from Arizona school curriculum. Alexie's response:
Let's get one thing out of the way: Mexican immigration is an oxymoron. Mexicans are indigenous. So, in a strange way, I'm pleased that the racist folks of Arizona have officially declared, in banning me alongside Urrea, Baca, and Castillo, that their anti-immigration laws are also anti-Indian. I'm also strangely pleased that the folks of Arizona have officially announced their fear of an educated underclass. You give those brown kids some books about brown folks and what happens? Those brown kids change the world. In the effort to vanish our books, Arizona has actually given them enormous power. Arizona has made our books sacred documents now.[24]
Poetry[edit]
Within a year of graduating from college, Alexie received the Washington State Arts Commission Poetry Fellowship and the National Endowment for the Arts Poetry Fellowship.[25] His career began with the publishing of his first two collections of poetry in 1992, entitled, I Would Steal Horses and The Business of Fancydancing.[8] In these poems, Alexie uses humor to express the struggles of contemporary Indians on reservations. Common themes include alcoholism, poverty and racism.[8] Although he uses humor to express his feelings, the underlying message is very serious.
The Business of Fancydancing: Stories and Poems (1992) [26] was well received, selling over 10,000 copies.[11] Alexie refers to his writing as "fancydancing,"[12] a flashy, colorful style of competitive Pow wow dancing. Whereas older, traditional forms of Indian dance may be ceremonial and kept private among tribal members, the fancydance style was created by Native American veterans from World War II as a form of public entertainment.[12] Alexie compares the mental, emotional, and spiritual outlet that he finds in his writings to the vivid self-expression of the dancers.[13] Leslie Ullman commented on The Business of Fancydancing in the Kenyon Review, writing that Alexie "weaves a curiously soft-blended tapestry of humor, humility, pride and metaphysical provocation out of the hard realities...: the tin-shack lives, the alcohol dreams, the bad luck and burlesque disasters, and the self-destructive courage of his characters."[13]
Alexie's other collections of poetry include:
The Business of Fancydancing: Stories and Poems (1992)
Old Shirts and New Skins (1993)[13]
First Indian on the Moon (1993)[13]
Seven Mourning Songs For the Cedar Flute I Have Yet to Learn to Play (1994)[13]
Water Flowing Home (1996)[13]
The Summer of Black Widows (1996)[13]
The Man Who Loves Salmon (1998)[13]
One Stick Song (2000)[13]
Face (2009), Hanging Loose Press (April 15, 2009) hardcover, 160 pages, ISBN 978-1-931236-71-3 [13]
Short stories[edit]
Alexie published his first prose work, entitled The Lone Ranger and Tonto Fistfight in Heaven, in 1993.[8] The book consists of a series of short stories that are interconnected. Several prominent characters are explored, and they have been featured in later works by Alexie. According to Sarah A. Quirk, The Lone Ranger and Tonto Fistfight in Heaven can be considered a bildungsroman with dual protagonists, "Victor Joseph and Thomas Builds-the-Fire, moving from relative innocence to a mature level on experience."[8]
Ten Little Indians (2004) is a collection of "nine extraordinary short stories set in and around the Seattle area, featuring Spokane Indians from all walks of urban life," according to Christine C. Menefee of the School Library Journal.[13] In this collection, Alexie "challenges stereotypes that whites have of Native Americans and at the same time shows the Native American characters coming to terms with their own identities."[13]
War Dances is a collection of short stories, poems, and short works. It won the 2010 PEN/Faulkner Award for Fiction. The collection, however, received mixed reviews.[13]
Other short stories by Alexie include:
Superman and Me (1997)
The Toughest Indian in the World (2000) (collection of short stories)[27]
"What You Pawn I Will Redeem" (2003), published in The New Yorker[1]
Blasphemy: New and Selected Stories (2012)[28]
"Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play 'The Star−Spangled Banner' at Woodstock"
Novels[edit]
In his first novel, Reservation Blues (1995), Alexie revisits some of the characters from The Lone Ranger and Tonto Fistfight in Heaven. Thomas Builds-the-Fire, Victor Joseph, and Junior Polatkin, who have grown up together on the Spokane Indian reservation, were teenagers in the short story collection. In Reservation Blues they are now adult men in their thirties.[29] Some of them are now musicians and in a band together. Verlyn Klinkenborg of the Los Angeles Times wrote in a 1995 review of Reservation Blues: "you can feel Alexie's purposely divided attention, his alertness to a divided audience, Native American and Anglo."[29] Klinkenborg says that Alexie is "willing to risk didacticism whenever he stops to explain the particulars of the Spokane and, more broadly, the Native American experience to his readers."[29]
Indian Killer (1996) is a murder mystery set among Native American adults in contemporary Seattle, where the characters struggle with urban life, mental health, and the knowledge that there is a serial killer on the loose. Characters deal with the racism in the University system, as well as in the community at large, where Indians are subjected to being lectured about their own culture by white professors who are actually ignorant of Indian cultures.[13]
Alexie's young adult novel, The Absolutely True Diary of a Part-Time Indian (2007) is a coming-of-age story that began as a memoir of his life and family on the Spokane Indian reservation.[13] The novel focuses on a fourteen-year-old Indian named Arnold Spirit. The novel is semi-autobiographical, including many events and elements of Alexie's life.[13] For example, Arnold was born with hydrocephalus, and was teased a lot as a child. The story also portrays events after Arnold's transfer to Reardan High School, which Alexie attended.[13] The novel received great reviews and continues to be a top seller. Bruce Barcott from the New York Times Book Review observed, "Working in the voice of a 14-year-old forces Alexie to strip everything down to action and emotion, so that reading becomes more like listening to your smart, funny best friend recount his day while waiting after school for a ride home."[13]
Flight (2007) also features an adolescent protagonist. The narrator, who calls himself "Zits," is a fifteen-year-old orphan of mixed Native and European ancestry who has bounced around the foster system in Seattle. The novel centers around experiences of the past, as Zits experiences short windows into others' lives after he is shot while committing a crime.[13]
Memoir[edit]
Alexie's memoir, You Don't Have to Say You Love Me, was released by Hachette in June 2017.[30] Claudia Rowe of The Seattle Times wrote in June 2017 that the memoir "pulls readers so deeply into the author’s youth on the Spokane Indian Reservation that most will forget all about facile comparisons and simply surrender to Alexie’s unmistakable patois of humor and profanity, history and pathos."[31] Alexie cancelled his book tour in support of You Don't Have to Say You Love Me in July 2017 due to the emotional toll that promoting the book was taking. In September 2017, he decided to resume the tour, with some significant changes. As he related to Laurie Hertzel of The Star Tribune, “I’m not performing the book,” he said. “I’m getting interviewed. That’s a whole different thing.” He went on to add that he won’t be answering any questions that he doesn’t want to answer. “I’ll put my armor back on,” he said.[32]
Films[edit]
In 1998 Alexie broke barriers by creating the first all-Indian movie, Smoke Signals.[13] Alexie based the screenplay on his short story collection, The Lone Ranger and Tonto Fistfight in Heaven, and characters and events from a number of Alexie's works make appearances in the film.[13] Smoke Signals was directed by Chris Eyre, a Cheyenne-Arapaho Indian filmmaker, and the entire production team and cast is Native American.[11] The film tells the story of two young Indians, Victor Joseph (Adam Beach) and Thomas Builds the Fire (Evan Adams), who leave the reservation on a road trip to retrieve the body of Victor's dead father (Gary Farmer).[13] During their journey the characters' childhood is explored via flashbacks. The film took top honors at the Sundance Film Festival.[13] It received an 86% and "fresh" rating from the online film database Rotten Tomatoes.[33]
The Business of Fancydancing, written and directed by Alexie in 2002, explores themes of Indian identity, cultural involvement vs blood quantum, living on the reservation or off it, and other issues around makes someone a "real Indian." The title refers to the protagonist's choice to leave the reservation and make his living performing for predominantly-white audiences. Evan Adams, who plays Thomas Builds the Fire in "Smoke Signals", again stars, now as an urban gay man with a white partner. The death of a peer brings the protagonist home to the reservation, where he reunites with his friends from his childhood and youth. The film is unique in that Alexie hired an almost completely female crew to produce the film. Many of the actors improvised their dialogue, based on real events in their lives.
Other film projects include:
49? (writer, 2003)
The Exiles (presenter, 2008)
Sonicsgate (participant, 2009)
Bibliography[edit]
This list is incomplete; you can help by expanding it.
Poetry[edit]
Collections[edit]
The Business of Fancydancing: Stories and Poems (1992)
Old Shirts and New Skins (1993)
First Indian on the Moon (1993)
Seven Mourning Songs For the Cedar Flute I Have Yet to Learn to Play (1994)
Water Flowing Home (1996)
The Summer of Black Widows (1996)
The Man Who Loves Salmon (1998)
One Stick Song (2000)
Face (2009), Hanging Loose Press (April 15, 2009) hardcover, 160 pages, ISBN 978-1-931236-71-3
Hymn (2017) https://earlybirdbooks.com/hymn-a-new-poem-by-sherman-alexie
Uncollected Poems[edit]
Title
Year
First published
Reprinted/collected
Notes
Autopsy 2017 Alexie, Sherman (January 31, 2017). "Autopsy". Early Bird Books.
Hymn 2017 Alexie, Sherman (August 16, 2017). "Hymn". Early Bird Books.
Memoir[edit]
You Don't Have to Say You Love Me (2017), Hachette Book Group, ISBN 9780316396776.
Novels[edit]
Reservation Blues (1995)
Indian Killer (1996)
The Absolutely True Diary of a Part-Time Indian (2007)
Flight (2007)
Short fiction[edit]
Collections[edit]
The Lone Ranger and Tonto Fistfight in Heaven (1993)
The Toughest Indian in the World (2000)
Ten Little Indians (2004)
War Dances (2009)
Blasphemy: New and Selected Stories (2012)
List of short stories[edit]
Title
Year
First published
Reprinted/collected
Notes
Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play 'The Star-Spangled Banner' at Woodstock 1993
Superman and Me 1997
What You Pawn I Will Redeem 2003 Alexie, Sherman (April 21, 2003). "What You Pawn I Will Redeem". The New Yorker.
Happy Trails 2013 Alexie, Sherman (June 10–17, 2013). "Happy Trails". The New Yorker. 89 (17): 64–65.
Clean, Cleaner, Cleanest 2017 Alexie, Sherman (April 21, 2003). "Clean, Cleaner, Cleanest". The New Yorker.
Awards and honors[edit]
1992
National Endowment for the Arts Poetry Fellowship
1993
PEN/Hemingway Award for Best First Book of Fiction for the story collection The Lone Ranger and Tonto Fistfight in Heaven[8]
1994
Lila Wallace-Reader's Digest Writers' Award[8]
1996
American Book Award (Before Columbus Foundation) for Reservation Blues[2]
Granta Magazine: Twenty Best American Novelists Under the Age of 40
New York Times Notable Book for Indian Killer
People Magazine: Best of Pages
1999
The New Yorker: 20 Writers for the 21st Century
2001
PEN/Malamud Award
2007
National Book Award, Young People's Literature, for The Absolutely True Diary of a Part-Time Indian[3]
2009
American Library Association Odyssey Award as the year's "best audiobook for children or young adults", read by Alexie (Frederick, MD: Recorded Books, LLC, 2008, ISBN 1-4361-2490-5)[4]
2010
PEN/Faulkner Award for War Dances[5]
Native Writers' Circle of the Americas Lifetime Achievement Award
Puterbaugh Award ", the first American Puterbaugh fellow
California Young Reader Medal for The Absolutely True Diary of a Part-Time Indian[34]
2013
The John Dos Passos Prize for Literature [35]
See also[edit]
Children's literature portal
Indigenous peoples of North America portal
Poetry portal
Literature portal
List of writers from peoples indigenous to the Americas
Native American Renaissance
Native American studies
References[edit]
Jump up ^ Eric Konigsberg, "In His Own Literary World, a Native Son Without Borders", The New York Times, October 20, 2009.
^ Jump up to: a b American Booksellers Association (2013). "The American Book Awards / Before Columbus Foundation [1980–2012]". BookWeb. Archived from the original on March 13, 2013. Retrieved 2013-09-25. 1996 [...] Reservation Blues, Sherman Alexie
^ Jump up to: a b "National Book Awards – 2007". National Book Foundation (NBF). Retrieved 2012-04-15.
(With acceptance speech by Alexie, interview with Alexie, and other material, partly replicated for all five Young People's Literature authors and books.)
^ Jump up to: a b "Odyssey Award winners and honor audiobooks, 2008–present". ALSC. ALA. Retrieved 2012-04-19.
^ Jump up to: a b Jacqueline Trescott, "Sherman Alexie wins 2010 Pen/Faulkner fiction prize for War Dances", The Washington Post, March 24, 2010. Retrieved 2012-03-12.
Jump up ^ Johansen, Bruce E. (2010). Native Americans Today: A Biographical Dictionary. Santa Barbara, Calif.: Greenwood Press. pp. 7–10. ISBN 978-0-313-35554-7.
Jump up ^ Nourr, Sarah. "Happy Birthday, Sherman Alexie". The Arts Partnership. Retrieved 13 March 2015.
^ Jump up to: a b c d e f g h i j k l m n o Quirk, Sarah A. (2003). "Sherman Alexie (7 October 1966–)". Dictionary of Literary Biography. Seventh. 278: 3–10. Retrieved 2012-04-07. [permanent dead link]
Jump up ^ Alexie, Sherman (May 27, 2012). "@Sherman_Alexie: Elizabeth Warren is as close to her Indian ancestors as I am to my 19th-century Russian fur-trapping great-grandfather". Twitter. Archived from the original on October 1, 2013. Retrieved April 11, 2018.
^ Jump up to: a b c d e f g h Cline, Lynn (2000). "About Sherman Alexie". Ploughshares. 26 (4): 197. Retrieved 2016-01-15.
^ Jump up to: a b c d e f g h i j k l m "Sherman Alexie". Authors and Artists for Young Adults. 28. 1999. Retrieved 2012-04-08. [permanent dead link]
^ Jump up to: a b c "Sherman Alexie". Encyclopedia of World Biography. 1998. Retrieved 2012-04-08. [permanent dead link]
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa "Sherman Alexie". Authors and Artists for Young Adults. 85. 2011. Retrieved 2012-04-05. [permanent dead link]
Jump up ^ "A Conversation With Sherman Alexie". Blue Mesa Review. December 6, 2012. Retrieved 2013-04-02.
^ Jump up to: a b Official Sherman Alexie website Archived June 2, 2011, at the Wayback Machine.
Jump up ^ "About Us: What is Longhouse Media?". Longhouse Media.
Jump up ^ Sherman Alexie Statement contributed by Shirley Qiu, Seattle Times. Dated February 28, 2018.
Jump up ^ Litsa Dremousis Responds to Sherman Alexie's Statement, The Stranger, March 1, 2018.
Jump up ^ Prachi Gupta, Native American Lit Community Warns of Sexual Harassment Allegations Against Sherman Alexie. Jezebel, February 27, 2018.
Jump up ^ 'Manhattan Beach,' 'You Don't Have to Say You Love Me,' receive 2018 Andrew Carnegie Medals for Excellence in Fiction and Nonfiction, ALA News February 14, 2018.
Jump up ^ https://indiancountrymedianetwork.com/history/people/sherman-alexie-declines-carnegie-medal-publisher-postpones-paperback-wake-sexual-allegations/
Jump up ^ Schilling, Vincent (March 19, 2018). "Sherman Alexie Declines Carnegie Medal; Publisher Postpones Paperback in wake of Sexual Allegations". Indian Country Today. Archived from the original on March 30, 2018. Retrieved April 4, 2018.
Jump up ^ 'AILA Rescinds Sherman Alexie’s 2008 YA Book of the Year Award', School Library Journal March 21, 2018.
Jump up ^ rdsathene, "Sherman Alexie "Arizona has made our books sacred documents now." Daily Kos, February 1, 2012.
Jump up ^ Ettlinger, Marian. "Sherman Alexie". Salem Press. Archived from the original on April 14, 2013. Retrieved 2013-04-02.
Jump up ^ Sanders, Ken (June 6, 1992). "The Business of Fancydancing - Stories and Poems (1992) BOOK APPRAISAL; Ken Sanders Rare Books, Salt Lake City, UT". Antiques Roadshow.
Jump up ^ "The Toughest Indian in the World (review)". Archived from the original on April 4, 2012. Retrieved 2011-09-20.
Jump up ^ Jess Row (November 21, 2012). "Without Reservation: 'Blasphemy,' by Sherman Alexie". New York Times. Sunday book review. Retrieved 2012-11-25.
^ Jump up to: a b c Klinkenborg, Verlyn (June 18, 1995). "America at the Crossroads: Life on the Spokane Reservation". Los Angeles Times Book Review. Retrieved 2012-04-05. [permanent dead link]
Jump up ^ "You Don't Have to Say You Love Me". Hachette Book Group. Retrieved 2017-06-21.
Jump up ^ "Sherman Alexie's brave new memoir delves into his childhood". The Seattle Times. 2017-06-19. Retrieved 2017-06-21.
Jump up ^ "Writer Sherman Alexie is back on the road: 'I averted a crisis'". Star Tribune. Retrieved 2017-12-06.
Jump up ^ "Smoke Signals". Rotten Tomatoes. Retrieved 2013-04-02.
Jump up ^ "Winners". California Young Reader Medal. Archived from the original on May 27, 2011. Retrieved May 8, 2011.
Jump up ^ "Past Recipients and Select Works". Longwood University. Retrieved October 5, 2017.
Other sources
Alexie, Sherman; Bill Clinton and Jim Lehrer. "A Dialogue on Race with President Clinton". News Hour. July 9, 1998.
Nygren, Åse. "A World of Story-Smoke: A Conversation with Sherman Alexie." MELUS 30.4 (Winter 2005): 149–69.
West, Dennis, and Joan M. West. ""Sending Cinematic Smoke Signals: An Interview with Sherman Alexie". Cineaste 23.4 (Fall 1998): 29–33.
External links and further reading[edit]
Wikiquote has quotations related to: Sherman Alexie
Official website
Sherman Alexie at the Internet Speculative Fiction Database
Sherman Alexie on IMDb
Voice of the New Tribes article by Duncan Campbell in "The Guardian" January 3, 2003
Sherman Alexie's poem "Punch" in Gulf Coast: A Journal of Literature and Fine Arts (24.1).
Berglund, Jeff and Jan Roush, eds. Sherman Alexie: A Collection of Critical Essays, (2010) ISBN 978-1-60781-008-7.
Sherman Alexie at Library of Congress Authorities, with 26 catalog records
Appearances on C-SPAN
Sherman Alexie’s heartbreaking reason for pausing his book tour - via KUOW News and Information
Interviews
"Sherman Alexie" by Robert Capriccioso, Identity Theory, published March 23, 2003
"Sherman Alexie" by Joelle Fraser, Iowa Review, copyright 2001
"Northwest Passages: Sherman Alexie" by Emily Harris, Think Out Loud, Oregon Public Broadcasting, broadcast October 8, 2009
"Interview With Sherman Alexie" as 2007 National Book Award winner, by Rita Williams-Garcia
"No More Playing Dead for American Indian Filmmaker Sherman Alexie" by Rita Kempley, The Washington Post, July 3, 1998
"Sherman Alexie on Living Outside Cultural Borders" by Bill Moyers, broadcast April 12, 2013 – with "Dig Deeper" on Alexie's life, work, and influence
[hide]
v
t
e
Fiction by Sherman Alexie
The Lone Ranger and Tonto Fistfight in Heaven (1994)
Reservation Blues (1995)
Indian Killer (1996)
The Toughest Indian in the World (2000)
Ten Little Indians (2003)
Flight (2007)
The Absolutely True Diary of a Part-Time Indian (2007)
War Dances (2009)
Blasphemy (2012)
Authority control
WorldCat Identities
VIAF: 46892548
LCCN: n91093126
ISNI: 0000 0001 1569 383X
GND: 115374930
SELIBR: 335376
SUDOC: 057036098
BNF: cb129548486 (data)
NDL: 00714467
NKC: xx0017510
BNE: XX825792
SNAC: w66h52mn
Retrieved from "https://en.wikipedia.org/w/index.php?title=Sherman_Alexie&oldid=837738130"
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Long bone
From Wikipedia, the free encyclopedia
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Long bone
Structure of a long bone (Femur)
Long bones in human skeleton. (shown in red)
Details
Identifiers
Latin
Os longum
MeSH
52
Dorlands
/Elsevier
2205
TA
A02.0.00.011
FMA
7474
Anatomical terms of bone
[edit on Wikidata]
The long bones are those that are longer than they are wide. They are one of five types of bones: long, short, flat, irregular and sesamoid. Long bones, especially the femur and tibia, are subjected to most of the load during daily activities and they are crucial for skeletal mobility. They grow primarily by elongation of the diaphysis, with an epiphysis at each end of the growing bone. The ends of epiphyses are covered with hyaline cartilage ("articular cartilage"). The longitudinal growth of long bones is a result of endochondral ossification at the epiphyseal plate. Bone growth in length is stimulated by the production of growth hormone (GH), a secretion of the anterior lobe of the pituitary gland.
The long bones include the femora, tibiae, and fibulae of the legs; the humeri, radii, and ulnae of the arms; metacarpals and metatarsals of the hands and feet, the phalanges of the fingers and toes, and the clavicles or collar bones. The long bones of the human leg comprise nearly half of adult height. The other primary skeletal component of height are the vertebrae and skull.
The outside of the bone consists of a layer of connective tissue called the periosteum. Additionally, the outer shell of the long bone is compact bone, then a deeper layer of cancellous bone (spongy bone) which contains in the medullary cavity the bone marrow.
Contents
[hide]
1 Structure
2 Clinical significance
3 Additional images
4 References
Structure[edit]
The outer shell of the long bone is made of cortical bone also known as compact bone. This is covered by a membrane of connective tissue called the periosteum. Beneath the cortical bone layer is a layer of spongy cancellous bone. Inside this is the medullary cavity which has an inner core of bone marrow made up of yellow marrow in the adult and red marrow in the child.
Clinical significance[edit]
There are two congenital disorders of the long bones. In a disorder known as rachitis fetalis anularis the ends of the long bones (epiphyses) are enlarged.[1] Another disorder is known as rachitis fetalis micromelica in which there is a deficiency in the growth (as a shortness) of the bones.[1]
There is a surgical procedure called distraction osteogenesis which is used to lengthen long bones.
Additional images[edit]
Long bones in human skeleton. (shown in red)
Parts of a long bone (Femur)
Classification of bones by shape
Distribution of forces on a long bone (Femur)
References[edit]
^ Jump up to: a b al.], consultants Daniel Albert ... [et (2012). Dorland's illustrated medical dictionary. (32nd ed.). Philadelphia, PA: Saunders/Elsevier. p. 1570. ISBN 978-1-4160-6257-8.
Stedman's Online Medical Dictionary, 27th Edition
Anatomy of long bone
Wikimedia Commons has media related to Long bones.
[hide]
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e
Bone and cartilage
Cartilage
perichondrium
fibrocartilage callus
metaphysis
Cells
chondroblast
chondrocyte
Types
hyaline
elastic
fibrous
Bone
Ossification
Primary bone
intramembranous
endochondral
Cells
osteoblast
osteoid
osteocyte
osteoclast
Types
cancellous
cortical
Regions
subchondral bone
epiphysis
epiphyseal plate/metaphysis
diaphysis
Condyle
Epicondyle
Structure
Osteon
Haversian canals
Volkmann's canals
connective tissue
endosteum
periosteum
Sharpey's fibres
enthesis
lacunae
canaliculi
trabeculae
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bone marrow
Shapes
long
short
flat
irregular
sesamoid

This human musculoskeletal system article is a stub. You can help Wikipedia by expanding it.
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text:
Much Ado About Nothing
From Wikipedia, the free encyclopedia
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For other uses, see Much Ado About Nothing (disambiguation).
The first page of Much Ado About Nothing, printed in the Second Folio of 1632
Much Ado About Nothing is a comedy by William Shakespeare thought to have been written in 1598 and 1599, as Shakespeare was approaching the middle of his career. The play was included in the First Folio, published in 1623.
By means of "noting" (which, in Shakespeare's day, sounded similar to "nothing" as in the play's title,[1][2] and which means gossip, rumour, and overhearing), Benedick and Beatrice are tricked into confessing their love for each other, and Claudio is tricked into rejecting Hero at the altar on the erroneous belief that she has been unfaithful. At the end, Benedick and Beatrice join forces to set things right, and the others join in a dance celebrating the marriages of the two couples.
Contents
[hide]
1 Characters
2 Synopsis
3 Sources
4 Date and text
5 Analysis and criticism
5.1 Style
5.2 Setting
5.3 Themes and motifs
5.3.1 Gender roles
5.3.2 Infidelity
5.3.3 Deception
5.3.4 Masks and mistaken identity
5.3.5 Noting
6 Performance history
6.1 On stage
7 Adaptations
7.1 Television
7.2 Film
7.3 Other
8 References
9 External links
Characters[edit]
Benedick, A lord and soldier from Padua; companion of Don Pedro
Beatrice, niece of Leonato
Don Pedro, Prince of Aragon.
Don John, "the Bastard Prince," brother of Don Pedro.
Claudio, of Florence; a count, companion of Don Pedro, friend to Benedick.
Leonato, governor of Messina; Hero's father
Antonio, brother of Leonato.
Balthasar, attendant on Don Pedro, a singer.
Borachio, follower of Don John.
Conrade, follower of Don John.
Innogen, a ghost character in early editions as Leonato's wife
Hero, daughter of Leonato
Margaret, waiting-gentlewoman attendant on Hero.
Ursula, waiting-gentlewoman attendant on Hero.
Dogberry, the constable in charge of Messina's night watch.
Verges, the Headborough, Dogberry's partner
Friar Francis, a priest.
A Sexton, the judge of the trial of Borachio
A Boy, serving Benedick
The Watch, watchmen of Messina
Attendants and Messengers
Synopsis[edit]
A painting of Beatrice by Frank Dicksee, from The Graphic Gallery of Shakespeare's Heroines
At Messina, a messenger brings news that Don Pedro, a prince from Aragon, will return that night from a successful battle, Claudio being among his soldiers. Beatrice, Leonato's niece, asks the messenger about Benedick, Don Pedro's companion, and makes sarcastic remarks about his ineptitude as a soldier. Leonato explains that "There is a kind of merry war betwixt Signior Benedick and her."[3]
Upon the arrival of the soldiers, Leonato welcomes Don Pedro and invites him to stay for a month, Benedick and Beatrice resume their "merry war " and Pedro's illegitimate brother Don John is introduced. Claudio's feelings for Hero, Leonato's only daughter, are rekindled upon seeing her, and Claudio soon announces to Benedick his intention to court her. Benedick, who openly despises marriage, tries to dissuade his friend but Don Pedro encourages the marriage. Benedick swears that he will never get married. Don Pedro laughs at him and tells him that when he has found the right person he shall get married.
A masquerade ball is planned in celebration of the end of the war, giving a disguised Don Pedro the opportunity to woo Hero on Claudio's behalf. Don John uses this situation to get revenge on his brother Don Pedro by telling young Claudio that Don Pedro is wooing Hero for himself. A furious Claudio confronts Don Pedro, but the misunderstanding is quickly resolved and Claudio wins Hero's hand in marriage.
Meanwhile, Benedick disguises himself and dances with Beatrice. Beatrice proceeds to tell this "mystery man" that Benedick is "the prince's jester, a very dull fool." Benedick, enraged by her words, swears he will have revenge. Don Pedro and his men, bored at the prospect of waiting a week for the wedding, harbour a plan to match-make between Benedick and Beatrice. They arrange for Benedick to overhear a conversation in which they declare that Beatrice is madly in love with him but afraid to tell him; that their pride is the main impediment to their courtship. Meanwhile, Hero and her maid Ursula ensure Beatrice overhears them discuss Benedick's undying love for her. The tricks have the desired effect: both Benedick and Beatrice are delighted to think they are the object of unrequited love, and both accordingly resolve to mend their faults and reconcile.
Meanwhile, Don Pedro's brother Don John, the "bastard prince", plots to prevent the wedding, embarrass his brother and wreak misery on Leonato and Claudio. He informs Don Pedro and Claudio that Hero is unfaithful, and arranges for them to see John's associate Borachio enter her bedchamber where he has an amorous liaison (actually with Margaret, Hero's chambermaid). Claudio and Don Pedro are taken in, and Claudio vows to humiliate Hero publicly.
Swooning of Hero in the Church scene by Alfred Elmore
At the wedding the next day, Claudio denounces Hero before the stunned guests and storms off with Don Pedro. Hero faints. Her humiliated father Leonato expresses the wish that she would die. The presiding friar intervenes, believing Hero to be innocent. He suggests the family fake Hero's death in order to extract the truth and Claudio's remorse. Prompted by the day's harrowing events, Benedick and Beatrice confess their love for each other. Beatrice then asks Benedick to slay Claudio as proof of his devotion, since he has slandered her kinswoman. Benedick is horrified and at first, denies her request. Leonato and his brother Antonio blame Claudio for Hero's apparent death and challenge him to a duel. Benedick then does the same.
Luckily, on the night of Don John's treachery, the local Watch apprehended Borachio and his ally Conrade. Despite the comic ineptness of the Watch (headed by constable Dogberry, a master of malapropisms), they have overheard the duo discussing their evil plans. The Watch arrest the villains and eventually obtain a confession, informing Leonato of Hero's innocence. Though Don John has fled the city, a force is sent to capture him. Claudio, stricken with remorse at Hero's supposed death, agrees to her father's demand that he marry Antonio's daughter, "almost the copy of my child that's dead"[3] and carry on the family name.
At the wedding, the bride is revealed to be Hero, still living. Claudio is overjoyed. Beatrice and Benedick, prompted by their friends' interference, finally and publicly confess their love for each other. As the play draws to a close, a messenger arrives with news of Don John's capture – but Benedick proposes to postpone his punishment to another day so that the couples can enjoy their new-found happiness. Don Pedro is lonely because he hasn't found love. Thus Benedick gives him the advice "Get thee a wife."
Sources[edit]
Stories of lovers deceived into believing each other false were common currency in northern Italy in the sixteenth century. Shakespeare's immediate source could have been one of the Novelle ("Tales") by Matteo Bandello of Mantua, dealing with the tribulations of Sir Timbreo and his betrothed Fenicia Lionata in Messina after King Piero's defeat of Charles of Anjou, perhaps through the translation into French by François de Belleforest.[4] Another version featuring lovers Ariodante and Ginevra, with the servant Dalinda impersonating Ginevra on the balcony, appears in Book V of Orlando Furioso by Ludovico Ariosto, published in an English translation in 1591.[5] The character of Benedick too has a counterpart in a commentary upon marriage in Orlando Furioso,[6] but the witty wooing of Beatrice and Benedick is original and very unusual in style and syncopation.[4] One version of the Claudio/Hero plot is told by Edmund Spenser in "The Faerie Queen" (Book II, Canto iv).[7]
Date and text[edit]
The title page from the first quarto edition of Much Adoe About Nothing, printed in 1600.
The earliest printed text states that Much Ado About Nothing was "sundry times publicly acted" prior to 1600 and it is likely that the play made its debut in the autumn or winter of 1598–1599.[8] The earliest recorded performances are two that were given at Court in the winter of 1612–1613, during the festivities preceding the marriage of Princess Elizabeth with Frederick V, Elector Palatine (14 February 1613). The play was published in quarto in 1600 by the stationers Andrew Wise and William Aspley. This was the only edition prior to the First Folio in 1623.
Analysis and criticism[edit]
Style[edit]
The play is one of the few in the Shakespeare canon where the majority of the text is written in prose.[9] The substantial verse sections are used to achieve both courteous decorum, on the one hand, and impulsive energies, on the other.[10]
Setting[edit]
Much Ado About Nothing is set in Messina, a port on the island of Sicily, which is next to the toe of Italy. Sicily was ruled by Aragon at the time the play was set.[11] The action of the play takes place mainly at the home and on the grounds of Leonato's Estate.
Themes and motifs[edit]
Gender roles[edit]
Drawing of Herbert Beerbohm Tree as Benedick and Winifred Emery as Beatrice in a 1905 production. Act II, Scene v: "Kill Claudio".
Benedick and Beatrice quickly became the main interest of the play, to the point where they are today considered the leading roles, even though their relationship is given equal or lesser weight in the script than Claudio and Hero's situation. Charles II even wrote 'Benedick and Beatrice' beside the title of the play in his copy of the Second Folio.[12] The provocative treatment of gender is central to the play and should be considered in its Renaissance context. While this was reflected and emphasised in certain plays of the period, it was also challenged.[13] Amussen[14] notes that the destabilising of traditional gender clichés appears to have inflamed anxieties about the erosion of social order. It seems that comic drama could be a means of calming such anxieties. Ironically, we can see through the play's popularity that this only increased people's interest in such behaviour. Benedick wittily gives voice to male anxieties about women's "sharp tongues and proneness to sexual lightness".[13] In the patriarchal society of the play, the men's loyalties were governed by conventional codes of honour and camaraderie and a sense of superiority to women.[13] Assumptions that women are by nature prone to inconstancy are shown in the repeated jokes on cuckoldry and partly explain Claudio's readiness to believe the slur against Hero. This stereotype is turned on its head in Balthasar's song "Sigh No More," which presents men as the deceitful and inconstant sex that women must suffer.
Infidelity[edit]
A theme in Shakespeare is cuckoldry or the infidelity of a wife. Several of the characters seem to be obsessed by the idea that a man has no way to know if his wife is faithful and therefore women can take full advantage of that fact. Don John plays upon Claudio's pride and fear of cuckoldry, which leads to the disastrous first wedding. Many of the males easily believe that Hero is impure and even her father readily condemns her with very little proof. This motif runs through the play, often in references to horns, a symbol of cuckoldry.
In contrast, Balthasar's song "Sigh No More" tells women to accept men's infidelity and continue to live joyfully. Some interpretations say that Balthasar sings poorly, undercutting the message. This is supported by Benedick's cynical comments about the song, where he compares it to a howling dog. However, in the 1993 Branagh film Balthasar sings beautifully, the song is also given a prominent role in both the opening and finale and the message appears to be embraced by the women in the film.[15]
Deception[edit]
In Much Ado About Nothing, there are many examples of deception and self-deception. The games and tricks played on people often have the best intentions—to make people fall in love, to help someone get what they want, or to lead someone to realize their mistake. However, not all are meant well, such as when Don John convinces Claudio that Don Pedro wants Hero for himself, or when Borachio meets 'Hero' (who is actually Margaret, pretending to be Hero) in Hero's bedroom window. These modes of deceit play into a complementary theme of emotional manipulability and the ease with which the characters' sentiments are redirected and their propensities exploited as a means to an end. The characters' feelings for each other are played as vehicles to reach an ultimate goal of engagement rather than seen as an end in themselves.
Masks and mistaken identity[edit]
People are constantly pretending to be others or being mistaken for other people. An example of this is Margaret who is mistaken for Hero, which leads to Hero's public disgrace at her wedding with Claudio. However, during a masked ball in which everyone must wear a mask, Beatrice rants about Benedick to a masked man who turns out to be Benedick himself but Beatrice is unaware of this at the time. During the same celebration, Don Pedro, masked, pretends to be Claudio and courts Hero for him. After Hero is announced "dead," Leonato orders Claudio to marry his "niece," who is actually Hero in disguise.
Noting[edit]
A watercolor by John Sutcliffe: Beatrice overhears Hero and Ursula.
Another motif is the play on the words nothing and noting, which in Shakespeare's day were near-homophones.[16] Taken literally, the title implies that a great fuss ("much ado") is made of something which is insignificant ("nothing"), such as the unfounded claims of Hero's infidelity and the unfounded claims that Benedick and Beatrice are in love with one another. The title could also be understood as Much Ado About Noting. Much of the action is in interest in and critique of others, written messages, spying, and eavesdropping. This is mentioned several times, particularly concerning "seeming," "fashion," and outward impressions. Nothing is a double entendre; "an O-thing" (or "n othing" or "no thing") was Elizabethan slang for "vagina", evidently derived from the pun of a woman having "nothing" between her legs.[4][17][18]
Examples of noting as noticing occur in the following instances: (1.1.131–132)
Claudio: Benedick, didst thou note the daughter of Signor Leonato?
Benedick: I noted her not, but I looked on her.
and (4.1.154–157).
Friar: Hear me a little,
For I have only been silent so long
And given way unto this course of fortune
By noting of the lady.
At (3.3.102–104), Borachio indicates that a man's clothing doesn't indicate his character:
Borachio: Thou knowest that the fashion of a doublet, or a hat, or a cloak is nothing to a man.
A triple play on words in which noting signifies noticing, musical notes and nothing occurs at (2.3.47–52):
Don Pedro: Nay pray thee, come;
Or if thou wilt hold longer argument,
Do it in notes.
Balthasar: Note this before my notes:
There's not a note of mine that's worth the noting.
Don Pedro: Why, these are very crotchets that he speaks –
Note notes, forsooth, and nothing!
Don Pedro's last line can be understood to mean, "Pay attention to your music and nothing else!" The complex layers of meaning include a pun on "crotchets," which can mean both "quarter notes" (in music) and whimsical notions.
The following are puns on notes as messages: (2.1.174–176),
Claudio: I pray you leave me.
Benedick: Ho, now you strike like the blind man – 'twas the boy that stole your meat, and you'll beat the post.
in which Benedick plays on the word post as a pole and as mail delivery in a joke reminiscent of Shakespeare's earlier advice "Don't shoot the messenger"; and (2.3.138–142)
Claudio: Now you talk of a sheet of paper, I remember a pretty jest your daughter told us of.
Leonato: O, when she had writ it and was reading it over, she found Benedick and Beatrice between the sheet?
in which Leonato makes a sexual innuendo concerning sheet as a sheet of paper (on which Beatrice's love note to Benedick is to have been written) and a bedsheet.
Performance history[edit]
David Garrick as Benedick, by Jean-Louis Fesch (fr), 1770
John Gielgud and Margaret Leighton in the 1959 Broadway production of Much Ado About Nothing.
The play was very popular in its early decades, as it would be later: in a poem published in 1640, Leonard Digges wrote, "...let but Beatrice / And Benedick be seen, lo in a trice / The Cockpit galleries, boxes, all are full."
After the theatres re-opened during the Restoration, Sir William Davenant staged The Law Against Lovers (1662), which inserted Beatrice and Benedick into an adaptation of Measure for Measure. Another adaptation, The Universal Passion, combined Much Ado with a play by Molière (1737). Shakespeare's text had been revived by John Rich at Lincoln's Inn Fields (1721). David Garrick first played Benedick in 1748 and continued to play him until 1776.[19]
The great nineteenth-century stage team Henry Irving and Ellen Terry counted Benedick and Beatrice as their greatest triumph and Charles Kemble also had a great success as Benedick. John Gielgud made Benedick one of his signature roles between 1931 and 1959, playing the part opposite the Beatrice of Diana Wynyard, Peggy Ashcroft, and Margaret Leighton. The longest running Broadway production is A. J. Antoon's 1972 staging starring Sam Waterston, Kathleen Widdoes, and Barnard Hughes, and Derek Jacobi won a Tony Award for playing Benedick in 1984. Jacobi had also played Benedick in the Royal Shakespeare Company's highly praised 1982 production. Director Terry Hands produced the play on a stage-length mirror, against an unchanging backdrop of painted trees. Sinéad Cusack played Beatrice.
In 2013 James Earl Jones and Vanessa Redgrave (who are in their seventies and eighties, respectively) played Benedick and Beatrice on stage at The Old Vic, London.
On stage[edit]
Print of Ellen Terry as Beatrice and Henry Irving as Benedick in an 1862 performance of the play.
In the original production by the Lord Chamberlain's Men, William Kempe played Dogberry and Richard Cowley played Verges.
1765 David Garrick played Benedick.
1862 Henry Irving and Ellen Terry played Benedick and Beatrice.
1930 John Gielgud played Benedick for the first time at the Old Vic Theatre and it stayed in his repertory until 1959.
1960 Tony Award Nomination for Best Performance by a Leading Actress in a Play: Margaret Leighton
1973 Tony Award Nomination for Best Featured Actor in a Play: Barnard Hughes as Dogberry in the New York Shakespeare Festival production
1973 Tony Award Nomination for Best Performance by a Leading Actress in a Play: Kathleen Widdoes
1983 Evening Standard Award: Best Actor: Derek Jacobi
1985 Tony Award Nomination for Best Performance by a Leading Actress in a Play: Sinéad Cusack
1985 Tony Award for Best Performance by a Leading Actor in a Play: Derek Jacobi as Benedick
1989 Evening Standard Award: Best Actress: Felicity Kendal as Beatrice in Elijah Moshinsky's production at the Strand Theatre
1994 Laurence Olivier Award: Best Actor: Mark Rylance as Benedick in Matthew Warchus' production at the Queen's Theatre
2006 Laurence Olivier Award: Best Actress: Tamsin Greig as Beatrice in the Royal Shakespeare Company's production in the Royal Shakespeare Theatre, directed by Marianne Elliott
2007 Zoë Wanamaker as Beatrice and Simon Russell Beale as Benedick in a National Theatre production directed by Nicholas Hytner
2011 Eve Best as Beatrice and Charles Edwards as Benedick at Shakespeare's Globe, directed by Jeremy Herrin.[20]
2011 David Tennant as Benedick alongside Catherine Tate as Beatrice in a production of the play at the Wyndham's Theatre, directed by Josie Rourke.[21] An authorized recording of this production is available to download and watch from Digital Theatre.
2012 Meera Syal as Beatrice and Paul Bhattacharjee as Benedick in an Indian setting, directed by Iqbal Khan for the Royal Shakespeare Company, part of the World Shakespeare Festival
2013 Vanessa Redgrave as Beatrice and James Earl Jones as Benedick in a production at The Old Vic directed by Mark Rylance.
2013 German-language production ("Viel Lärm um Nichts"), translated and directed by Marius von Mayenburg at the Schaubuhne am Lehniner Platz, Berlin.
2017 Beatriz Romilly as Beatrice and Matthew Needham as Benedick in a Mexican setting, at Shakespeare's Globe, directed by Matthew Dunster.
Adaptations[edit]
Television[edit]
There have been several screen adaptations of Much Ado About Nothing, and almost all of them have been made for television.
An adaptation is the 1973 New York Shakespeare Festival production by Joseph Papp, shot on videotape and released on VHS and DVD, that presents more of the text than Kenneth Branagh's version. It is directed by A. J. Antoon. The Papp production stars Sam Waterston, Kathleen Widdoes, and Barnard Hughes.
The 1984 BBC Television version stars Lee Montague as Leonato, Cherie Lunghi as Beatrice, Katharine Levy as Hero, Jon Finch as Don Pedro, Robert Lindsay as Benedick, Robert Reynolds as Claudio, Gordon Whiting as Antonio and Vernon Dobtcheff as Don John. An earlier BBC television version with Maggie Smith and Robert Stephens, adapted from Franco Zeffirelli's stage production for the National Theatre Company's London stage production, was broadcast in February 1967.[22]
In 2005 the BBC adapted the story by setting it in the modern-day studios of Wessex Tonight, a fictional regional news programme, as part of the ShakespeaRe-Told season, with Damian Lewis, Sarah Parish, and Billie Piper.
Film[edit]
The first cinematic version in English may have been the 1913 silent film directed by Phillips Smalley.
Martin Hellberg's 1964 East German film Viel Lärm um nichts was based on the Shakespeare play.
The first sound version in English released to cinemas was the highly acclaimed 1993 film by Kenneth Branagh. It starred Branagh as Benedick, Emma Thompson as Beatrice, Denzel Washington as Don Pedro, Keanu Reeves as Don John, Richard Briers as Leonato, Michael Keaton as Dogberry, Robert Sean Leonard as Claudio, Imelda Staunton as Margaret, and Kate Beckinsale in her film debut as Hero.
The 2001 Hindi film Dil Chahta Hai is a loose adaptation of the play.[23]
In 2011, Joss Whedon completed filming of an adaptation,[24] released in June 2013. The cast includes Amy Acker as Beatrice, Alexis Denisof as Benedick, Nathan Fillion as Dogberry, Clark Gregg as Leonato, Reed Diamond as Don Pedro, Fran Kranz as Claudio, Jillian Morgese as Hero, Sean Maher as Don John, Spencer Treat Clark as Borachio, Riki Lindhome as Conrade, Ashley Johnson as Margaret, Tom Lenk as Verges, and Romy Rosemont as the sexton.
In 2012 a filmed version of the live 2011 performance at The Globe was released to cinemas and on DVD.
In 2012 a filmed version of the 2011 performance at Wyndham's Theatre was made available for download or streaming on the Digital Theatre website.
In 2015, a modern movie version of this play was created by Owen Drake entitled Messina High, starring Faye Reagan.[25]
Other[edit]
The operas Béatrice et Bénédict (1862) by Hector Berlioz, Paul Puget's Beaucoup de bruit pour rien (pub.1898) and Much Ado About Nothing by Sir Charles Villiers Stanford (1901) are based upon this play.[26]
Erich Wolfgang Korngold composed music for a production in 1917 at the Vienna Burgtheater by Max Reinhardt.
In 2006 the American Music Theatre Project produced The Boys Are Coming Home,[27] a musical adaptation by Berni Stapleton and Leslie Arden that sets Much Ado About Nothing in America during the Second World War.
The title track of the 2009 Mumford & Sons album Sigh No More uses quotes from this play in the song. The title of the album is also a quotation from the play.
On March 26, 2014, the first episode of the video blog series Nothing Much to Do was released.[28] Set in a New Zealand high school, the series was adapted by the four women team The Candle Wasters.[29]
In July 2014, a webseries modernization of the play, A Bit Much was released.[30] Created by Colleen Scriven, the series places the play in a modern-day summer camp.
In 2015, Billie Joe Armstrong wrote the music for a rock opera adaptation of the play, These Paper Bullets, which was written by Rolin Jones.[31]
Author Molly Booth has written a summer YA novel adaptation called NOTHING HAPPENED, where Claudio and Hero are a queer couple, Claudia and Hana. It's set for publication May 15th, 2018, from Disney Hyperion publishing house.
References[edit]
Jump up ^ McEachern, Claire, ed. (2016). "Introduction". Much Ado About Nothing. The Arden Shakespeare, Third Series (2nd revised ed.). Bloomsbury Publishing. p. 2. ISBN 978-1903436837.
Jump up ^ Zitner, Sheldon P., ed. (2008). Much Ado About Nothing. Oxford World's Classics. Oxford: Oxford University Press. pp. 131–2. ISBN 9780199536115.
^ Jump up to: a b "Much Ado About Nothing: Act 1, Scene 1". shakespeare-navigators.com. Retrieved 6 August 2015.
^ Jump up to: a b c Rasmussen, Eric; Bate, Jonathan (2007). "Much Ado About Nothing". The RSC Shakespeare: the complete works. New York: Macmillan. p. 257. ISBN 0-230-00350-8.
Jump up ^ Evans, G. Blakemore (1997). "Much Ado about Nothing". The Riverside Shakespeare. Boston: Houghton Mifflin. p. 361. ISBN 0-395-85822-4.
Jump up ^ Dusinberre, Juliet (1998). "Much Ado About Lying". In Marrapodi, Michele. The Italian world of English Renaissance drama: cultural exchange and intertextuality. Newark: University of Delaware Press. p. 244. ISBN 0-87413-638-5.
Jump up ^ Harrison, GB, ed. (1968). "Much Ado About Nothing introduction". Shakespeare: the Complete Works. New York: Harcourt, Brace & World, Inc. p. 697. ISBN 0-15-580530-4.
Jump up ^ See textual notes to Much Ado About Nothing in The Norton Shakespeare (W. W. Norton & Company, 1997 ISBN 0-393-97087-6) p. 1387
Jump up ^ "Much Ado About Nothing: Entire Play". Shakespeare.mit.edu. Retrieved 2012-11-12.
Jump up ^ A. R. Hunphreys, ed. (1981). Much Ado About Nothing. Arden Edition.
Jump up ^ Bate, Jonathan (2008). Soul of the Age: the Life, Mind and World of William Shakespeare. London: Viking. p. 305. ISBN 978-0-670-91482-1.
Jump up ^ G. Blakemore Evans, The Riverside Shakespeare, Houghton Mifflin, 1974; p. 327.
^ Jump up to: a b c McEachern, Much Ado About Nothing, Arden; 3rd edition, 2005.
Jump up ^ Amussen, Ordered Society, Columbia University Press (15 April 1994).
Jump up ^ Deleyto, Celestino (1997). "Men in Leather: Kenneth Branagh's Much Ado about Nothing and Romantic Comedy". Cinema Journal. University of Texas Press. 36 (3): 91–105. JSTOR 1225677. doi:10.2307/1225677.
Jump up ^ See Stephen Greenblatt's introduction to Much Ado about Nothing in The Norton Shakespeare (W. W. Norton & Company, 1997 ISBN 0-393-97087-6) at p. 1383.
Jump up ^ See Gordon Williams A Glossary of Shakespeare's Sexual Language (Althone Press, 1997 ISBN 0-485-12130-1) at p. 219: "As Shakespeare's title ironically acknowledges, vagina and virginity are a nothing causing Much Ado."
Jump up ^ Dexter, Gary (13 February 2011). "Title Deed: How the Book Got its Name". The Daily Telegraph. London.
Jump up ^ F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; pp. 326–7.
Jump up ^ Spencer, Charles (30 May 2011). "Much Ado About Nothing, Shakespeare's Globe, review". The Daily Telegraph. London.
Jump up ^ Cavendish, Dominic (10 May 2011). "David Tennant and Catherine Tate interview for 'Much Ado About Nothing'". The Daily Telegraph. London. Retrieved 28 May 2011.
Jump up ^ "Dame Again - Early ‘lost’ Maggie Smith appearance painstakingly restored". BBC. September 2016. Retrieved 30 September 2016.
Jump up ^ Ramesh, Randeep (29 July 2006). "A matter of caste as Bollywood embraces the Bard". Guardian. London. Retrieved 5 April 2011.
Jump up ^ "Much Ado About Nothing". Retrieved 23 October 2011.
Jump up ^ "Messina High". 17 August 2015 – via IMDb.
Jump up ^ Daly, Karina, Tom Walsh's Opera: A history of the Wexford Festival, 1951–2004, Four Courts, 2004. ISBN 1-85182-878-8; the Workpage for Puget's opera at IMSLP.
Jump up ^ Simonson, Robert. "Cast Set for Gary Griffin-Directed The Boys Are Coming Home, at Northwestern's American Music Theatre Project". 28 May 2008.
Jump up ^ And So It Begins... YouTube. 25 March 2014. Retrieved 6 August 2015.
Jump up ^ "The Candle Wasters". tumblr.com. Retrieved 6 August 2015.
Jump up ^ "A Bit Much".
Jump up ^ "THESE PAPER BULLETS!/NOV 20, 2015 – JAN 10, 2016". Atlantic Theater Company. Retrieved April 30, 2016.
External links[edit]
Wikisource has original text related to this article:
Much Ado About Nothing
Wikiquote has quotations related to: Much Ado About Nothing
Wikimedia Commons has media related to Much Ado About Nothing.
Much Ado About Nothing – Includes annotated text with line numbers, search engine, and scene summaries
Much Ado About Nothing at the British Library
Much Ado About Nothing – plaintext file from Project Gutenberg
Much Ado About Nothing – HTML version of this title
Much Ado About Nothing public domain audiobook at LibriVox
Much Ado About Nothing - Modern version of the play
Lesson plans for teaching Much Ado About Nothing at Web English Teacher
Much Ado About Nothing study guide, themes, quotes, multimedia, teaching guide
Much Ado About Nothing A modern re-telling in Flash comic format provided by the Stratford Shakespeare Festival of Canada
"Hero. The quiet daughter of Leonato and cousin of the gay Beatrice . . .". New International Encyclopedia. 1905.
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