Think Night: London's Neighbourhoods from 6Pm

Total Page:16

File Type:pdf, Size:1020Kb

Think Night: London's Neighbourhoods from 6Pm THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM LONDON NIGHT TIME COMMISSION FOREWORD London is a world-class city. As such, of expert witnesses. In another world-first, it merits world-leading thoughts on all we commissioned new research to hear aspects of city life at night. from Londoners themselves about how they use the city between 6pm and 6am: what We are interested in London’s identity they do, what activities they take part in and at night. When we talk about night we crucially what more needs to be done to therefore consider it as broadly as we allow them to live their lives more fully. would the day. We have used a wide lens, looking at the wealth of activities that London is a dynamic and diverse ecosystem happen from 6pm to 6am. at night that goes far beyond commercial transactions. It incorporates the culture, Uniquely, London’s Night Time Commission character and atmosphere of our city. was established to build on London’s Londoners are more active between 6pm and strengths rather than to address a crisis. 6am, and have later bedtimes and a better Our focus goes well beyond the scope of quality of sleep, than anyone else in the other similar bodies that centre only on UK. Two-thirds of us regularly do everyday the night time economy. The Commission activities at night – errands, shopping, set itself a broad, holistic framework: to catching up with friends – and a staggering develop and help realise an ambitious 1.6 million of us usually work at night. vision for the life of our city, and those who live in it, between 6pm and 6am. Our city needs better planning to ensure life can thrive during these vital and vibrant This report paints a detailed portrait hours. We need to tackle the very real of London, bringing together our own challenges of cost and accessibility which research with the views of Londoners, the hold many of us back from living life to the input of Commissioners and the knowledge full at night. 2 THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM 3 Like the Mayor, we believe that London Our international research shows there has can provide so much more at night: more been a ‘top-down’ approach to managing chances for night workers to shop, post a cities at night. We do not believe this is parcel or find a peaceful spot for a break; right for London. This centralised approach more chances for people to engage in is often used to control problem areas. local decision-making, helping shape and It is not suitable for delivering diversity and celebrate their neighbourhood’s culture, helping neighbourhoods to flourish. As a heritage and character; more chances to city of villages and town centres, we feel find out what’s on offer across all parts of that broad, holistic night time strategies the city; more chances for businesses to should be set at borough level. This will develop, innovate and grow, generating ensure an approach that is tailored to the tax revenues, creating jobs and investing in special character of each area. their neighbourhoods. That said, the Mayor and his team have We are excited by night time opportunities a vital role to play in developing central for the public sector. Every neighbourhood resources that are available to boroughs has its own character born of its people, and support effective and mindful decision history and culture. Parks, museums, making. In writing this report, we’ve drawn libraries, town halls and other public on a wealth of new and existing research. buildings can be used differently at night However, it has been hard to access clear to offer people a bigger range of things and consistent data on which to base our to do. The traditional night time economy findings. To address this will require data can provide the buzz and launchpad for collection agencies, the GLA, government other cultural and community activities. and the commercial sector to work together, Making ‘daytime culture’ available after addressing the gaps in our knowledge of 6pm will also broaden what it means to be London from 6pm to 6am. This data will be in and around London’s many and various vital to inform borough policy-making. neighbourhoods at night. Finally, we would like to thank our fellow In addition to setting up new spaces, Commissioners for their time, support London can make better night time use and invaluable contributions throughout of ‘daytime’ spaces like shops and public this process. We share a consensus about buildings. ‘Nesting’ a night offer within what the issues and priorities for London an underused space will help to tackle at night should be. Our recommendations the decline of our high streets. Examples reflect this. Thanks also to everyone who include reinventing a hotel lobby or retail has helped us in our research. Let’s put this unit at night to exhibit public art, host a plan into practice and help our great city to pop-up market, or stage performances. If flourish at night. we don’t innovate, we risk losing our place as one of the most vibrant and liveable cities in the world. Kate Nicholls and Rommel Moseley Chair and Vice Chair of the London Night Time Commission 2 THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM 3 CONTENTS Foreword 2 Recommendation summary 8 1. An international perspective 18 2. Starting from a position of strength 24 3. A strategic approach: supporting boroughs as they shape thriving public 30 spaces, fuelling civic pride 4. Vibrant, attractive and diverse centres at night 44 5. Health, safety and wellbeing in a 24-hour city 54 6. Ensuring London works for workers 64 7. Promoting London in all its diversity to Londoners and visitors 72 4 THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM 5 MEMBERS OF THE LONDON NIGHT TIME COMMISSION Nihal Arthanayake, Ros Morgan, Presenter, BBC Radio Five Live CEO, Heart of London Business Alliance Hannah Barry, Rommel Moseley (Vice Chair), Founder, Bold Tendencies Director of Business Development and Partnerships, The Drinkaware Trust Laura Citron, CEO, London & Partners Lucy Musgrave, Director, Publica Alan Clamp, CEO, Security Industries Authority David Musker, Commander, The Metropolitan Police Service Cllr. Clare Coghill, Leader, London Borough of Waltham Forest Jo Negrini, CEO, London Borough of Croydon Paul Davies, Consultant Kate Nicholls (Chair), CEO, UK Hospitality Jamal Edwards MBE, CEO, SBTV Samantha Renke, Actress Jan Hart, Director of Public Protection, London Cllr Darren Rodwell, Borough of Islington Leader, London Borough of Barking and Dagenham Cllr. Angela Harvey, Chair of Licensing, City of Westminster Indhu Rubasingham, Director, Kiln Theatre, Kilburn Les Isaac OBE, CEO, Ascension Trust Hannah Wadey, CEO, Safer Business Network David Lutton, Executive Director, Economy and Tax, Carly Wilford, London First DJ Shakira Martin, Alex Williams, President, National Union of Students Director of City Planning, Transport for London Alan Miller, Chair, Night Time Industries Association 4 THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM 5 NIGHT TIME WORKERS 1.6m people in London work at night TRAVEL 62% are men 191,000 1/5 2/3 1/4 31% work in health are BAME of all trips are for work. of all trips at of trips on 38% This is the same both night are for public transport day and night leisure reasons happen at night are women 178,000 work in professional services The biggest growth in public transport use is from 10pm to 7am 168,000 work in culture 54% 24% and leisure usually go to bed usually go to bed 50% after 11pm after midnight of night bus journeys 2/3 are for work of babies are CRIME OUTSIDE OF WORK born at night. 29% 65% The most common time is 4am of Londoners sleep of Londoners are 51% 36% very well, the highest active at night percentage in the UK drop in night time offences of Londoners involving alcohol from say it is too 2010 to 2017 expensive to go out at night WHAT DO THEY DO? socialise outside cultural sport 4.3% 75% the home activities and gym of all crimes at night of Londoners are alcohol-related and visitors 22% 42% 10%7% 19% offences feel safe walking alone at night personal errands other 6pm 6am 6 THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM 7 NIGHT TIME WORKERS 1.6m people in London work at night TRAVEL 62% are men 191,000 1/5 2/3 1/4 31% work in health are BAME of all trips are for work. of all trips at of trips on 38% This is the same both night are for public transport day and night leisure reasons happen at night are women 178,000 work in professional services The biggest growth in public transport use is from 10pm to 7am 168,000 work in culture 54% 24% and leisure usually go to bed usually go to bed 50% after 11pm after midnight of night bus journeys 2/3 are for work of babies are CRIME OUTSIDE OF WORK born at night. 29% 65% The most common time is 4am of Londoners sleep of Londoners are 51% 36% very well, the highest active at night percentage in the UK drop in night time offences of Londoners involving alcohol from say it is too 2010 to 2017 expensive to go out at night WHAT DO THEY DO? socialise outside cultural sport 4.3% 75% the home activities and gym of all crimes at night of Londoners are alcohol-related and visitors 22% 42% 10%7% 19% offences feel safe walking alone at night personal errands other 6pm 6am 6 THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM 7 8 THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM RECOMMENDATION SUMMARY 9 RECOMMENDATION 1: The Mayor should put the night at the heart of London policy- making.
Recommended publications
  • The Hothouse HAROLD PINTER
    CRÉATION The Hothouse HAROLD PINTER 20 21 GRAND THÉÂTRE › STUDIO 2 CRÉATION The Hothouse HAROLD PINTER WEDNESDAY 24, THURSDAY 25, FRIDAY 26, TUESDAY 30 & WEDNESDAY 31 MARCH & THURSDAY 1 & FRIDAY 2, TUESDAY 6, WEDNESDAY 7, FRIDAY 9 & SATURDAY 10 APRIL 2021 › 8PM WEDNESDAY 7 & SATURDAY 10 APRIL 2021 › 3PM SUNDAY 11 APRIL 2021 › 5PM – Running time 2h00 (no interval) – Introduction to the play by Janine Goedert 30 minutes before every performance (EN). – This performance contains stroboscopic lights. 3 GRAND THÉÂTRE › STUDIO 4 With Tubb Pol Belardi Lamb Danny Boland Miss Cutts Céline Camara Lobb Catherine Janke Lush Marie Jung Roote Dennis Kozeluh Gibbs Daron Yates & Georges Maikel (dance) – Directed by Anne Simon Set design Anouk Schiltz Costume design Virginia Ferreira Music & sound design Pol Belardi Lighting design Marc Thein Assistant director Sally Merres Make-up Joël Seiller – Wardrobe Manuela Giacometti Props Marko Mladjenovic – Production Les Théâtres de la Ville de Luxembourg 5 GRAND THÉÂTRE › STUDIO THE HOTHOUSE The Hothouse is a play about unchecked (state)-power and the decisions leaders make – spurious decisions that are potentially dangerous in the name for the preservation of a society. Somewhere in an authoritarian state. Former military Colonel Roote runs an institution where bureaucracy rules and the inmates are reduced to numbers. When one Christmas day, the cantankerous Colonel is confronted by a double crisis with the death of one inmate and the pregnancy of another, he finds himself increasingly cornered and sees the system he obeys so respectfully slip away. The Hothouse is a blackly comic portrait of the insidious corruption of power and demonstrates how far people will go to keep a system alive that is long condemned to fail.
    [Show full text]
  • London at Night: an Evidence Base for a 24-Hour City
    London at night: An evidence base for a 24-hour city November 2018 London at night: An evidence base for a 24-hour city copyright Greater London Authority November 2018 Published by Greater London Authority City Hall The Queens Walk London SE1 2AA www.london.gov.uk Tel 020 7983 4922 Minicom 020 7983 4000 ISBN 978-1-84781-710-5 Cover photograph © Shutterstock For more information about this publication, please contact: GLA Economics Tel 020 7983 4922 Email [email protected] GLA Economics provides expert advice and analysis on London’s economy and the economic issues facing the capital. Data and analysis from GLA Economics form a basis for the policy and investment decisions facing the Mayor of London and the GLA group. GLA Economics uses a wide range of information and data sourced from third party suppliers within its analysis and reports. GLA Economics cannot be held responsible for the accuracy or timeliness of this information and data. The GLA will not be liable for any losses suffered or liabilities incurred by a party as a result of that party relying in any way on the information contained in this report. London at night: An evidence base for a 24-hour city Contents Foreword from the Mayor of London .......................................................................................... 2 Foreword from the London Night Time Commission ................................................................... 3 Foreword from the Night Czar ....................................................................................................
    [Show full text]
  • The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter
    Ben Ferber The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter I have no doubt that history will recognize Harold Pinter as one of the most influential dramatists of all time, a perennial inspiration for the way we look at modern theater. If other playwrights use characters and plots to put life under a microscope for audiences, Pinter hands them a kaleidoscope and says, “Have at it.” He crafts multifaceted plays that speak to the depth of his reality and teases and threatens his audience with dangerous truths. In No Man’s Land, Pinter has Hirst attack Spooner, who may or may not be his old friend: “This is outrageous! Who are you? What are you doing in my house?”1 Hirst then launches into a monologue beginning: “I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were.”2 Pinter never fully resolves Spooner’s identity, but the mens’ actions towards each other are perfectly clear: with exacting language and wit, Pinter has constructed a magnificent struggle between the two for power and identity. In 1958, early in his career, Pinter wrote The Hothouse, an incredibly funny play based on a traumatic personal experience as a lab rat at London’s Maudsley Hospital, proudly founded as a modern psychiatric institution, rather than an asylum. The story of The Hothouse, set in a mental hospital of some sort, is centered around the death of one patient, “6457,” and the unexplained pregnancy of another, “6459.” Details around both incidents are very murky, but varying amounts of culpability for both seem to fall on the institution’s leader, Roote, and his second-in- command, Gibbs.
    [Show full text]
  • Politics, Oppression and Violence in Harold Pinter's Plays
    Politics, Oppression and Violence in Harold Pinter’s Plays through the Lens of Arabic Plays from Egypt and Syria Hekmat Shammout A thesis submitted to the University of Birmingham for the degree of MASTER OF ARTS BY RESEARCH Department of Drama and Theatre Arts College of Arts and Law University of Birmingham May 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis aims to examine how far the political plays of Harold Pinter reflect the Arabic political situation, particularly in Syria and Egypt, by comparing them to several plays that have been written in these two countries after 1967. During the research, the comparative study examined the similarities and differences on a theoretical basis, and how each playwright dramatised the topic of political violence and aggression against oppressed individuals. It also focussed on what dramatic techniques have been used in the plays. The thesis also tries to shed light on how Arab theatre practitioners managed to adapt Pinter’s plays to overcome the cultural-specific elements and the foreignness of the text to bring the play closer to the understanding of the targeted audience.
    [Show full text]
  • The Dramatic World Harol I Pinter
    THE DRAMATIC WORLD HAROL I PINTER RITUAL Katherine H. Bnrkman $8.00 THE DRAMATIC WORLD OF HAROLD PINTER By Katherine H. Burkman The drama of Harold Pinter evolves in an atmosphere of mystery in which the surfaces of life are realistically detailed but the pat­ terns that underlie them remain obscure. De­ spite the vivid naturalism of his dialogue, his characters often behave more like figures in a dream than like persons with whom one can easily identify. Pinter has on one occasion admitted that, if pressed, he would define his art as realistic but would not describe what he does as realism. Here he points to what his audience has often sensed is distinctive in his style: its mixture of the real and sur­ real, its exact portrayal of life on the surface, and its powerful evocation of that life that lies beneath the surface. Mrs. Burkman rejects the contention of some Pinter critics that the playwright seeks to mystify and puzzle his audience. To the contrary, she argues, he is exploring experi­ ence at levels that are mysterious, and is a poetic rather than a problem-solving play­ wright. The poetic images of the play, more­ over, Mrs. Burkman contends, are based in ritual; and just as the ancient Greeks at­ tempted to understand the mysteries of life by drawing upon the most primitive of reli­ gious rites, so Pinter employs ritual in his drama for his own tragicomic purposes. Mrs. Burkman explores two distinct kinds of ritual that Pinter develops in counter­ point. His plays abound in those daily habit­ ual activities that have become formalized as ritual and have tended to become empty of meaning, but these automatic activities are set in contrast with sacrificial rites that are loaded with meaning, and force the charac­ ters to a painful awareness of life from which their daily routines have served to protect them.
    [Show full text]
  • Tacit Significance, Explicit Irrelevance: the Use of Language and Silence in the Caretaker and the Dumb Waiter
    Revista de Lenguas ModeRnas, N° 16, 2012 / 31-48 / ISSN: 1659-1933 Tacit Significance, Explicit Irrelevance: The Use of Language and Silence in The Caretaker and The Dumb Waiter Juan Carlos saravia vargas Escuela de Lenguas Modernas Universidad de Costa Rica Abstract Readers who approach the Theater of the Absurd face complex interpreti- ve problems. The style of Harold Pinter, the laureate British playwright, adds an additional difficulty due to his particular use of language. His plays The Caretaker and The Dumb Waiter show how speech is overs- hadowed by silence, which provides a more direct access to the tortured psyche of characters. Key words: Theater of the Absurd, Harold Pinter, silence, dialog, plays, interpretation, The Caretaker, The Dumb Waiter Resumen El Teatro del absurdo presenta complejos problemas de interpretación a los lectores. El estilo del reconocido dramaturgo inglés Harold Pinter, representado en las obras El guardián y El Montaplatos, añade una difi- cultad adicional por su uso particular del lenguaje, donde la prominencia del discurso oral se ve opacada por el silencio. Es este último recurso dramático el que provee un acceso más directo a la torturada mente de los personajes. Palabras claves: teatro del absurdo, Harold Pinter, silencio, diálogo, obras, interpretación, El Guardián, El Montaplatos Recepción: 1-8-11 Aceptación: 5-12-11 32 Revista de Lenguas ModeRnas, n° 16, 2012 / 31-48 / ISSN: 1659-1933 heater, as a dramatic genre, has always posited an ontological problem for readers: since plays are intended to be staged, and not merely read, Tthe capacity of the reader to envision stage elements and their inter- action with characters might affect the interpretive experience of a dramatic work.
    [Show full text]
  • {Download PDF} the Dumb Waiter: Play
    THE DUMB WAITER: PLAY PDF, EPUB, EBOOK Harold Pinter | 40 pages | 31 Jan 2015 | Samuel French Ltd | 9780573042102 | English | London, United Kingdom The Dumb Waiter: Play PDF Book From Wikipedia, the free encyclopedia. Get ready to write your essay on The Dumb Waiter. Ben bursts out loudly again about something he sees in the newspaper, but Gus quickly changes the subject to whether they could go to a football soccer game the next day. They begin to argue, and Gus passionately questions Ben about why their boss, a man named Wilson , wants them to do this job. Ben points his gun at the door, ready to shoot, as Gus enters the room. Our study guide has summaries, insightful analyses, and everything else you need to understand The Dumb Waiter. Ben has to explain to the people above via the dumbwaiter's "speaking tube" that there is no food. Two Person Three Person. Ben criticizes Gus for complaining about their job, which is not yet clear to the audience, saying that he gets plenty of time off. Remember me. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Project Webster continues to increase in scope and dimension, more licensed and public domain content is being added. Mostly male cast Includes adult characters. These horrors are dramatized through images of torture and oppression culminating in moments of silence that index the full extent of the destruction unleashed by the forces of power against dissidence. Another interpretation is that the play is a political drama showing how the individual is destroyed by a higher power.
    [Show full text]
  • The Dramatic World of Harold Pinter: Its Basis in Ritual
    The Dramatic World of Harold Pinter: Its Basis in Ritual The Battle for Possession: Defense of the Tree Like most birds, the robin sings only within his borders, where he pours out his defense and defiance.1 "The Examination," a short story by Pinter published in 1959, describes a cyclic change of power not unlike the action of Pinter's dramas. The narrator, who begins as the examiner, ends as the examined; and it is hinted that the exchange of power is continuous. The narrator was pre­ viously the examined, and Kullus was the examiner; the narrator then took over as examiner, and at the end of the story the wheel has turned once more. The power struggle in the story remains mysterious and abstract; the object of the examination and the content of it are never specified. The narrator dwells, rather, on his examination technique, one that involves particular ar­ rangements of the room and intervals given him by Kullus. These intervals are periods of silence that differ from 66 Kullus's other silences which form a part of the examina­ tion. "And so," the narrator explains, "the nature of our silence within the frame of our examination, and the na­ ture of our silence outside the frame of our examination, were entirely opposed."2 While the nature of the examination is mysterious, the battle for dominance is defined by the silences; the narra­ tor loses his dominance when he cannot follow Kullus's journey with understanding "from silence to silence" (p. 90). One is reminded of the defeat of Edward by the silent matchseller of A Slight Ache and of the fullness of silence in the frequent pauses of Pinter's dramatic world.
    [Show full text]
  • A Study Op Dramatic Structure in Harold Pinter's Stage Plays
    A STUDY OP DRAMATIC STRUCTURE IN HAROLD PINTER'S STAGE PLAYS by CHRISTINE PATRICIA PARKIN born CHRISTINE PATRICIA GEORGE B.A. , University of Bristol, 1955 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the reauired standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of A The University of British Columbia Vancouver 8, Canada Date ABSTRACT Pinter has said that his main concern when writing a play is with structure, yet published criticism has so far paid little attention to this aspect of his craft. This study, therefore, examines the structures of Pinter's stage plays. The method followed is a chronological structural analysis moving from The Room through The Birthday Party, The Dumb Waiter, The Caretaker, The Homecoming, Landscape and Silence to his latest play, Old Times, first produced in London on June 1, 1971- The opening chapter discusses the terms which form a background to the subsequent description of the dramatic structures. The analyses demonstrate that there are at least three major features of his craftsmanship to emerge at this point in his career.
    [Show full text]
  • The Development of Harold Pinter's Political Drama
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the pennission of the Author. FROM MENACE TO TORTURE: THE DEVELOPMENT OF HAROLD PINTER'S POLITICAL DRAMA A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University Betty s. Livingston 1993 ii ABSTRACT There is a degree of continuity between Pinter's "comedies of menace" and his overtly political plays. The chief difference between the two types of plays is one of focus: in the "comedies of menace" Pinter emphasises social pressures exerted on the nonconforming indi victual, whereas in the overtly political plays he focusses explicitly on State oppression of the dissident. Pinter's passionate concern with politics has adversely affected his art, though there are signs of a return to form in his latest play, Party Time. iii ACKNOWLEDGEMENT I am extremely grateful to Professor Dick Corballis for his generous and invaluable guidance and assistance. CONTENTS Page Acknowledgement iii CHAPTER ONE: Introduction 1 CHAPTER TWO: Society versus the nonconforming 5 individual: the "comedies of menace" CHAPTER THREE: The State versus the dissident 48 individual: the overtly political plays CHAPTER FOUR: The effect of Pinter's political 82 commitment on his art NOTES 89 BIBLIOGRAPHY 97 CHAPTER ONE INTRODUCTION Pinter's seemingly abrupt switch to explicitly political drama in One for the Road took many of his critics by surprise.
    [Show full text]
  • Selected Bibliography
    SELECTED BIBLIOGRAPHY For the sake of alphabetical continuity, the titles listed here have not been divided into primary and secondary sources. Almansi G. and Henderson S. (1983). Harold Pinter. Methuen; London. Anderson Michael (1976). Anger and Detachment: A Study of Arden, Osborne and Pinter Pitman Publishing: London. Armstrong William A.(ed.) (1963). Experimental Drama. London: G. Bells and Sons. Aronson S.M.L. "Pinter's "Family" and Blood Knowledge" in John Lahr (ed.) (1971). A Casebook on Harold Pinter's The Homecoming, New York: Grove Press. Baker and Tabachnick Stephen E. (1973). Harold Pinter. Oliver & Boyd; Edinburgh Barker Granville H. (1964). On Dramatic Method. Hill and Wang: New York. Becker George J. (1963). Documents of Modem Literary Realism. N. J: Princenton Univ. Press. Bentley Eric (1955). The Playwright as Thinker. Meridian Books: New York. Berkowitz Gerald M. "The Destruction of Identity in Pinter's Early Plays" in Ariel, Vol. 9, No. 1 (January, 1978). Bernhard F. J. "Beyond Realism: The plays of Harold Pinter". In Modern Drama 196 Ill, 2 (September, 1965). Billington Michael (1996). The Life and Work of Harold Pinter Faber & Faber: London Bold Alan (1984). IHarold Pinter: You Never Heard Sucti Silence. Vision and Barnes & Noble: London. Bradby David. "Theories of Modern Drama" in Martin Coyle (ed.) (1991). Encyclopedia of Literature and Criticism. Gale Research: Detroit. Brown John Russell (1972). Tfteatre Language: A study of Arden, Osborne, Pinter and Wesker Allen Lane: The Penguin Press: London. Boulton James T. "Harold Pinter: The Caretaker and Other Plays" in Ganz Arthur (ed.) (1972). Harold Pinter: A collection of Critical Essays.
    [Show full text]
  • Hothouse-2020-Web-Correct.Pdf
    H O T H O U S E S P R I N G 2 0 2 0 Copyright © 2020 by the English Department at Te University of Texas at Austin. All Rights Reserved. Printed in the United States of America. For more information about Hothouse, visit hothouselitjournal.com, or email us at [email protected]. Hothouse was printed by OneTouchPoint-Southwest in Austin, Texas. Dedicated to the writers who make their home in Parlin Hall STAFF EDITOR-IN-CHIEF Julia Schoos MANAGING EDITOR Kylie Warkentin NONFICTION POETRY FICTION EDITOR EDITOR EDITOR Josephine Yi Sara Cline Jefery Rose NONFICTION POETRY FICTION BOARD BOARD BOARD Amanda Hart Andilynn Feddeler Adeline Gordon Chloe Manchester Fareena Arefeen Christie Basson Ingrid Alberding Lucia Delgado DeShawn McKeel John Finley Luisana Cortez Haylee Reed Savannah Mahan Natalie Nobile Monica Salazar Will DeBerry Sara Fetahagic Regina Mondragon Victoria Canales Sloane Smith WEBSITE Vanessa Simersky TEAM DESIGN Christie Basson (Editor) EDITOR MARKETING Kylie Warkentin (Editor) Andilynn Feddeler TEAM Abbey Bartz Alyssa Jingling (Director) Chloe Manchester COVER DESIGN Ashley Grey Kayla Bollers Jack Rouse Carol Pettijohn Leah Park Kennedy Lilly Lindsey Ferris Kayla Bollers Natalie Nobile Sloane Smith Stephanie Pickrell Vanessa Simersky 6 TABLE OF CONTENTS Editor’s Note 11 FICTION American 13 Megan Leal Encounters 22 DeShawn McKeel A Spider Killed My Mother, and Other New Poems 27 Zackary Davis 124 At Night 35 Christie Basson Leaving Kudzu 39 Livian Green The Neighbors Across the Street 48 Sara Cline Sleep 52 Sara Cline 7 POETRY Boogie Boogie Birth 63 Chloe Nguyen Elegy in Dirt 65 Matthew Leger Mesquite King 68 Kerri Kilmer Volume 69 Matthew Leger Fine Art.
    [Show full text]