Essential Dylan Thomas, The
Author : Dylan Thomas
Performed By : Full Cast Performance
Publisher : Select Music & Distribution
Runtime : 5 hours
Categories : Classic Literature
Dramatizations
Poetry
Classics
Short Stories
Our Price : $18.75
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This unique combination of historical and new recordings celebrates Dylan Thomas as poet, writer and performer. Here are some of his greatest poems, stories and broadcasts: readings given by Thomas himself in the 1940s and 1950s as well as new recordings by leading Welsh actors of our own time. Under Milk Wood is Thomas's undisputed masterpiece, an unforgettable, affectionate portrait of a small Welsh town. Written for radio, its intimate blend of poetry and drama made it an instant classic; and so it remains in this unmatched recording with a perfect cast led by Richard Burton. But here, also, are two fascinating earlier radio programmes, Return Journey to Swansea and Quite Early One Morning, written and performed by Thomas, which show the past that led to Under Milk Wood.
The last two CDs contain new recordings of a selection of stories (including Memories of Christmas and A Visit to Grandpa's) and poems in which contemporary performance offers an interesting contrast to the 'authentic' voice of Thomas himself.
essential but with one cut
Kurt Yount from La Habra - 19 Mar 2007
I cannot believe that Do not go gentle into that good night was cut, the last verse, but otherwise it was a great collection and an interesting idea. They almost redeemed themselves because it was read later, but I still couldn't believe it. However it is a worthwhile collection with much that he was known for. Kurt
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Frankenstein
Author : Mary Shelley
Performed By : Full Cast Performance
Publisher : Select Music & Distribution
Runtime : 2 hours 40 minutes
Categories : Classics
Dramatizations
Horror & Suspense
Our Price : $11.99
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The gothin tale of Frankenstein and his construction of a human being who runs amok has, with the help of numerous films, become one of the most vivid of horror stories.
But Mary Shelley's original novel, written in 1816, dealt more sympathetically with "the daemon", showing how an initially beneficent creature is hammered into a daemon by the way he is treated.
Her ideas, and her dramatic but poignant story, is brought to life in this sound dramatisation.
Frankenstein or the Modern Prometheus
Mary Shelley was the daughter of the radical feminist Mary Wollstencraft and the mistress - later the wife - of the poet Percy Bysshe Shelley. In 1816, she and her half-sister, Claire Claremont, mistress of both Shelley and Byron, followed Shelley into exile from his native land, where his frank espousal of a philosophy of 'free love' and his outspoken atheism had been little relished. They spent the summer with Lord Byron (also on the run from scandal in England) who had taken the Villa Diodati on the shores of Lake Geneva. The company may even have been joined by the shade of Milton who had once occupied the house. But the current of creative genius that had produced the divine spark in Milton had become, in the popular imagination, something demonic in these two arch-romantic poets.
On June 15, as the lightning flickered across the lake, Mary listened to the conversation of Byron, Shelley and Dr Polidori, Byron's young amanuensis. They were discussing galvanism (the medical use of electric current) and the possibility of provoking the very spark of life by its means. The subject was of particular interest to Shelley who had experimented with electrical instruments at Oxford. At the same time the company were deeply engrossed in German horror stories, and the following day they each agreed to try their hand at writing a ghost story. The published outcome was Polidori's The Vampyre, adapted from Byron's effort, which had in turn been inspired by an hysterical fantasy from Shelley - and Mary Shelley's Frankenstein.
Inspiration had been slow in coming, but when it did her nightmarish creation broke upon her drowsing consciousness fully-formed. She "saw the pale student of unhallowed arts" turning in horror from "his odious handiwork", the vile assemblage of human remains which he had animated with the breath of life. And in working out this ghastly fantasy into a full narrative her inspiration did not desert her. She was hardly nineteen. Though she lived another thirty-five years, she never again approached the visionary grandeur of conception achieved in this, her first literary effort. All her youthful life's experience went into it. Above all, it was about Shelley himself, who is both the idealistic creative spirit and the hounded outcast, both Dr Frankenstein and his monster. In a sense, the popular misconception that gives the name Frankenstein to the monster himself is an appropriate one. Frankenstein's creation haunts him like his own evil genius, his own shadow made flesh. For it is his refusal to take responsibility for the unprepossessing fruit of his actions that turns it into an avenging angel, destroying all the human connections that make life meaningful, as it pursues him to the grave.
Frankenstein is a meditation upon the grounds of evil inspired by the anarchist philosophy of Mary's Father, William Godwin. It is also a daring development of Milton's vision of the fallen angel in Paradise Lost and a critique of the idea of Divine creation itself. But finally, it must be recognised as quite a new-thing for its time: it is the first work of science fiction in English. And as science fiction it is about the limitations of goodwill without wisdom. It is a dire warning against technological hubris, against the temptation to assume that benevolent intentions are sufficient to procure beneficent results. Its timely message is that there are matters with which we tamper at our peril. As such, the novel remains the most powerful Promethean fable of modern times.
This is the definitive version!
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