The story of Sting's life and times is told by the singer himself.

The popular singer discusses his early childhood, adolescence, and rise to success with the Police, detailing personal moments and relationships that shaped his life.

The year is 1919 and Great Britain is still struggling to its feet after being hit by the atrocities of the first World War. Former police sergeant Herbert Reardon returns home, determined to finally find out what happened the night that his daughter was found drowned in the lake. When a maid is found murdered in exactly the same spot, Reardon is convinced that the two cases are linked.

"Previously published in the anthology Performed the here and now: an introduction to contemporary theater and performance edited by Chris Danowski ... and also in the independent literary journal CallReview (issue #2, 2004)"--T.p. verso.

Music was a subject of considerable debate during the Renaissance. The notion that music could be interpreted in a meaningful way clashed regularly with evidence that music was in fact profoundly promiscuous in its application and effects. Subsequently, much writing in the period reflects a desire to ward off music’s illegibility rather than come to terms with its actual effects. In Broken Harmony Joseph M. Ortiz revises our understanding of music’s relationship to language in Renaissance England. In the process he shows the degree to which discussions of music were ideologically and politically charged. Offering a historically nuanced account of the early modern debate over music, along with close readings of several of Shakespeare’s plays (including Titus Andronicus, The Merchant of Venice, The Tempest, and The Winter’s Tale) and Milton’s A Maske, Ortiz challenges the consensus that music’s affinity with poetry was widely accepted, or even desired, by Renaissance poets. Shakespeare more than any other early modern poet exposed the fault lines in the debate about music’s function in art, repeatedly staging disruptive scenes of music that expose an underlying struggle between textual and sensuous authorities. Such musical interventions in textual experiences highlight the significance of sound as an aesthetic and sensory experience independent of any narrative function.

[V.23] The second part of Henry the Fourth. 1940.--[v.24-25] The sonnets. 1924.--[v.26] Troilus and Cressida. 1953.--[v.27] The life and death of King Richard the Second. 1955.

Shakespeare at his sunniest, posing serious questions in the most lighthearted tone. Is there a natural difference between a Duke's daughter and a commoner? Are men really stronger than women? Or is it just society's role? Some of these characters briefly discard the roles they've played, while others adopt new ones. All learn something about themselves.