Vineeta vijayaraghavan biography of christopher
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Motherland
In this quiet but engaging debut novel, an American teenager spends the summer with her relatives in southern India and gains new insight into her past, her family and her heritage. Born in Kerala, Maya spent the first four years of her life there, cared for mainly by her grandmother, Ammamma, until she was sent to live with her parents in New York. At 15, with her parents' marriage undergoing a rough patch, she is sent back to India to stay with her Aunt Reema and Uncle Sanjay, their year-old daughter, Brindha, and Ammamma at their house in the tea hills above Coimbatore. It's been years since Maya came to visit, and this time she is keenly aware of cultural differences: the different spheres of men and women and the persistence of the caste system. She feels stifled by the attentions of Ammamma and resentful of the time she must spend with the old woman. When Maya suffers an accident while most of the family is away, she and Ammamma grow closer, and Maya learns a hidde
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Anita Rau Badami was born in India and immigrated to Canada with her husband and son in Badami completed a B.A. in English at Madras University and studied journalism at Sophia College in Bombay. She completed an M.A. at the University of Calgary, producing a novel for her thesis entitled &#;Railways and Ginger.&#; In addition to Calgary, Badami has lived in Vancouver, and Montreal.
In Badami was the recipient of the Marian Engel Award that recognizes a Canadian woman author in mid-career.
Fiction
Can You Hear the Nightbird Call?
Toronto: A.A. Knopf Canada,
PS .A27 C36
Publisher&#;s Synopsis
&#; tells the stories of three women, linked in love and tragedy, over a span of fifty years, sweeping from the Partition of India and Pakistan in to the explosion of Air India Flight off the coast of Ireland in
Awards and Honours
Paragraphe Hugh MacLennan Prize for Fiction (Quebec Writers&#; Federation)(Finalist)
Fiction
The Hero&#;s Walk: A Novel
Toronto: Knopf Canada,
P
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Lost in Mamet's Woods
The Woods typifies the theatre of David Mamet, taking us into the depths of postmodern relational angst. Cristopher Scully's Leverett House production presents the emotional isolation of a man and a woman whose love affair becomes destructive at worst, tenuous at best.
A couple in love at the beginning, Ruth (Karen Todd) and Nick (Ian Lithgow) indulge in an idyllic weekend retreat. In classically structured form, Mamet moves to the moments of crisis in which the dissolution of their relationship fryst vatten most pronounced. Then focuses on achieving resolution--structurally of the play, and literally of the relationship.
Nick's sporadic violence fryst vatten the only action in the play; all else is dialogue that often appears pointless and incoherent. Mamet's critics often consider this ultimate realism--the diminishing of action into perpetual, unconstructive, oververbalization.
Mamet, like Philip Roth, justifies his oververbalization within the script. Ruth declares