POPULARITY
4 episodes with Susan Glaspell
2 episodes with Susan Glaspell
3 episodes with Susan Glaspell
3 episodes with Susan Glaspell
2 episodes with Susan Glaspell
2 episodes with Susan Glaspell
2 episodes with Susan Glaspell
3 episodes with Susan Glaspell
2 episodes with Susan Glaspell
One-Act Play Collections - Book 5, Part 2 Title: One-Act Play Collections - Volume 5 Overview: This collection of ten one-act dramas features plays by James M. Barrie, Hereward Carrington, Marjorie Benton Cooke, Alice Gerstenberg, Susan Glaspell, George Cram Cook, St. John Hankin, George Middleton, David Pinski, Frederik Pohl, and an unknown Japanese author. The plays were coordinated by Arielle Lipshaw, Availle, Chuck Williamson, Todd, Peter Yearsley, Caprisha Page, Charlotte Duckett, and Amanda Friday. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #11 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 5, Part 2 Book: 5 Volume: 5 Part: 2 of 2 Episodes Part: 5 Length Part: 2:26:55 Episodes Volume: 10 Length Volume: 5:11:34 Episodes Book: 10 Length Book: 5:11:34 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Arielle Lipshaw.
One-Act Play Collections - Book 5, Part 1 Title: One-Act Play Collections - Volume 5 Overview: This collection of ten one-act dramas features plays by James M. Barrie, Hereward Carrington, Marjorie Benton Cooke, Alice Gerstenberg, Susan Glaspell, George Cram Cook, St. John Hankin, George Middleton, David Pinski, Frederik Pohl, and an unknown Japanese author. The plays were coordinated by Arielle Lipshaw, Availle, Chuck Williamson, Todd, Peter Yearsley, Caprisha Page, Charlotte Duckett, and Amanda Friday. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #10 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 5, Part 1 Book: 5 Volume: 5 Part: 1 of 2 Episodes Part: 5 Length Part: 2:44:43 Episodes Volume: 10 Length Volume: 5:11:34 Episodes Book: 10 Length Book: 5:11:34 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Arielle Lipshaw.
One-Act Play Collections - Book 4, Part 3 Title: One-Act Play Collections - Volume 4 Overview: This collection of twelve one-act dramas features plays by James Allen, John Kendrick Bangs, Gordon Bottomley, Charles Dickens, Lord Dunsany, Susan Glaspell, George Bernard Shaw, August Strindberg, Marion Craig Wentworth, and William Butler Yeats. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #9 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 4, Part 3 Book: 4 Volume: 4 Part: 3 of 3 Episodes Part: 4 Length Part: 2:08:59 Episodes Volume: 12 Length Volume: 7:19:29 Episodes Book: 12 Length Book: 7:19:29 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Elizabeth Klett.
One-Act Play Collections - Book 4, Part 2 Title: One-Act Play Collections - Volume 4 Overview: This collection of twelve one-act dramas features plays by James Allen, John Kendrick Bangs, Gordon Bottomley, Charles Dickens, Lord Dunsany, Susan Glaspell, George Bernard Shaw, August Strindberg, Marion Craig Wentworth, and William Butler Yeats. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #8 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 4, Part 2 Book: 4 Volume: 4 Part: 2 of 3 Episodes Part: 4 Length Part: 3:18:23 Episodes Volume: 12 Length Volume: 7:19:29 Episodes Book: 12 Length Book: 7:19:29 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Elizabeth Klett.
Struggling to fall asleep? Quiet your mind with this moving short story by Susan Glaspell. Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodIf you like this episode, please remember to follow on Spotify, Apple Podcasts, or your favourite podcast app. Also, share with any family or friends that might have trouble drifting off.Goodnight! Hosted on Acast. See acast.com/privacy for more information.
One-Act Play Collections - Book 4, Part 1 Title: One-Act Play Collections - Volume 4 Overview: This collection of twelve one-act dramas features plays by James Allen, John Kendrick Bangs, Gordon Bottomley, Charles Dickens, Lord Dunsany, Susan Glaspell, George Bernard Shaw, August Strindberg, Marion Craig Wentworth, and William Butler Yeats. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #7 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 4, Part 1 Book: 4 Volume: 4 Part: 1 of 3 Episodes Part: 4 Length Part: 1:52:09 Episodes Volume: 12 Length Volume: 7:19:29 Episodes Book: 12 Length Book: 7:19:29 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Elizabeth Klett.
One-Act Play Collections - Book 2, Part 2 Title: One-Act Play Collections - Volume 2 Overview: This collection of eight one-act dramas features plays by Eugene O'Neill, George Bernard Shaw, John Galsworthy, Susan Glaspell, William Dean Howells, and John Millington Synge. It also includes a dramatic reading of a short story by Frank Richard Stockton. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #4 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 2, Part 2 Book: 2 Volume: 2 Part: 2 of 2 Episodes Part: 4 Length Part: 2:03:59 Episodes Volume: 8 Length Volume: 4:22:04 Episodes Book: 8 Length Book: 4:22:04 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Elizabeth Klett.
One-Act Play Collections - Book 2, Part 1 Title: One-Act Play Collections - Volume 2 Overview: This collection of eight one-act dramas features plays by Eugene O'Neill, George Bernard Shaw, John Galsworthy, Susan Glaspell, William Dean Howells, and John Millington Synge. It also includes a dramatic reading of a short story by Frank Richard Stockton. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #3 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 2, Part 1 Book: 2 Volume: 2 Part: 1 of 2 Episodes Part: 4 Length Part: 2:18:08 Episodes Volume: 8 Length Volume: 4:22:04 Episodes Book: 8 Length Book: 4:22:04 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Elizabeth Klett.
A consideration of crime fiction's more compact incarnation. Please be aware that there are spoilers in this episode for the two stories discussed here in detail: "Traitor's Hands" by Agatha Christie and "A Jury of Her Peers" by Susan Glaspell. Books mentioned in this episode: — Memories and Adventures by Arthur Conan Doyle — The Casebook of Sherlock Holmes by Arthur Conan Doyle — A Study in Scarlet by Arthur Conan Doyle — "A Scandal in Bohemia" by Arthur Conan Doyle, collected in The Adventures of Sherlock Holmes — How to Write a Mystery: a Handbook from Mystery Writers of America, edited by Lee Child with Laurie R. King — The Mysterious Affair at Styles by Agatha Christie — “The Tuesday Night Club" by Agatha Christie, collected in The Thirteen Problems — Mr. Fortune, Please by H. C. Bailey — "Traitor's Hands" by Agatha Christie, collected in The Hound of Death — "A Jury of Her Peers" by Susan Glaspell, collected in In the Shadow of Agatha Christie — Marple: Twelve New Mysteries Support the podcast by joining the Shedunnit Book Club and get extra Shedunnit episodes every month plus access to the monthly reading discussions and community: shedunnitbookclub.com/join. NB: Links to Blackwell's are affiliate links, meaning that the podcast receives a small commission when you purchase a book there (the price remains the same for you). Blackwell's is a UK bookselling chain that ships internationally at no extra charge. To be the first to know about future developments with the podcast, sign up for the newsletter at shedunnitshow.com/newsletter. The podcast is on Twitter, Facebook, and Instagram as @ShedunnitShow, and you can find it in all major podcast apps. Make sure you're subscribed so you don't miss the next episode. Click here to do that now in your app of choice. Music by Audioblocks and Blue Dot Sessions. See shedunnitshow.com/musiccredits for more details. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, Ava and Jamira talk about “A Jury of Her Peers,” by Susan Glaspell. In the story, a man is found murdered in his home. While the men investigate, the women tend to the home and, as a result, solve the crime. But what do they do with the truth? When is it ok to circumvent the normal channels of justice in order to deliver justice more swiftly? We hope you enjoy. Email the show! carlilelcba@gmail.comMusic from #Uppbeat (free for Creators!): https://uppbeat.io/t/bosnow/party-rock License code: 77JKG6ITA09KQZX0
Susan Glaspell's classic story For Love of the Hills
Send us a Text Message.We take a summer trip to Provincetown, Massachusetts and other places across the United States to explore the legacy of novelist, journalist, playwright, and member of the Provincetown Players, Floyd Dell! Dell's work is often overshadowed by his other more famous contemporaries, including Eugene O'Neill, Susan Glaspell, Jack Reed, and others. This week, we shine a spotlight on his work and adventures through Bohemian culture and beyond!
If you're looking for a tragi-comedy where the lyric insight of Virginia Woolf meets the electric cruelty of Hedda Gabler… consider this post-war portrait of a woman created and creating through destruction. Claire Archer attempts to transcend the constraints of modern life through the breeding of new plants, despite a literal Tom, Dick, and Harry trying to stop her. As the blossoming of her latest creation approaches, her sanity is called into question and tensions around her unique way of life explode. A piece that is by turns devastating philosophical portraiture, droll farce, and scathing feminist cry, The Verge comes together in a pressure cooker analysis of prescribed womanhood. Hosted by Emily Lyon and Kalina Ko.Edited by Daniel OpkaraMonologue performed by Gwen KelsoSupport this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations
Today's poems pay tribute to the soulful and spirited Edna St. Vincent Millay, first woman to win the Pulitzer Prize for Poetry. They are “First Fig,” “Second Fig,” and “Thursday,” all from her collection, A Few Figs From Thistles.Poet and playwright Edna St. Vincent Millay was born in Rockland, Maine, on February 22, 1892. In 1912, Millay entered her poem “Renascence” to The Lyric Year's poetry contest, where she won fourth place and publication in the anthology. This brought her immediate acclaim and a scholarship to Vassar College, where she continued to write poetry and became involved in the theater. In 1917, the year of her graduation, Millay published her first book, Renascence and Other Poems (Harper, 1917). At the request of Vassar's drama department, she also wrote her first verse play, The Lamp and the Bell (1921), a work about love between women.After graduating from Vassar, Millay moved to New York City's Greenwich Village, where she lived with her sister, Norma, in a nine-foot-wide attic. Millay published poems in Vanity Fair, the Forum, and others while writing short stories and satire under the pen name Nancy Boyd. She and Norma acted with the Provincetown Players in the group's early days, befriending writers such as poet Witter Bynner, critic Edmund Wilson, playwright and actress Susan Glaspell, and journalist Floyd Dell. Millay published A Few Figs from Thistles (Harper & Brothers, 1920), a volume of poetry which drew much attention for its controversial descriptions of female sexuality and feminism. In 1923, Millay was awarded the Pulitzer Prize for The Ballad of the Harp-Weaver (Flying Cloud Press, 1922). In addition to publishing three plays in verse, Millay also wrote the libretto of one of the few American grand operas, The King's Henchman (Harper & Brothers, 1927).Millay married Eugen Boissevain in 1923, and the two were together for twenty-six years. Boissevain gave up his own pursuits to manage Millay's literary career, setting up the readings and public appearances for which Millay grew famous. Edna St. Vincent Millay died at the age of fifty-eight on October 18, 1950, in Austerlitz, New York.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
A cosa si sarà ispirata Susan Glaspell per la scrittura di "Una giuria di sole donne"? Scopriamolo in questo secondo episodio di una nuova profonda stagione.
In this episode, Randy and Tyler discuss the 2005 winner of the Pulitzer Prize for Drama, "Doubt, a Parable" by John Patrick Shanley.From Encyclopedia.com: Set at a Catholic school in the Bronx in 1964, Doubt concerns an older nun, Sister Aloysius, who does not approve of teachers' offering friendship and compassion over the discipline she feels students need in order to face the harsh world. When she suspects a new priest of sexually abusing a student, she is faced with the prospect of charging him with unproven allegations and possibly destroying his career as well as her own. To help build her case, she asks for help from an idealistic young nun, who finds her faith in compassion challenged, and the mother of the accused boy, who is protective of her son, the first black student ever admitted to St. Nicholas.******* IN OUR NEXT EPISODE *******Join us as we discuss the 1931 winner of the Pulitzer Prize for Drama, Alison's House by Susan Glaspell.From StageAgent.com: Susan Glaspell's Pulitzer Prize-winning play, Alison's House, takes us to Iowa on the last day of the nineteenth century. The Stanhope family are preparing to say goodbye to their old homestead on the banks of the Mississippi but the house holds a lot of memories for each generation. Their sister and aunt, Alison, has been dead for eighteen years but her influence, both as a poet and a person, remains strong. Aunt Agatha is fiercely protective of her sister's reputation and legacy, but what is she hiding? When disgraced daughter Elsa returns home, old wounds are opened and it becomes clear that her scandalous relationship with a married man is not the first in the family. Like Elsa, Alison also fell deeply in love but, unlike her niece, she let her lover go and channeled her secret passions into her poetry. Unable to bring herself to burn the pages, Agatha finally relinquishes the poetry to Elsa and reveals Alison's secret.DeScriptedFacebook: https://www.facebook.com/DeScriptedPodTwitter: @DeScriptedPod - www.twitter.com/DeScriptedPodInstagram: @DeScriptedPod - www.instagram.com/DeScriptedPod
In this great short story, a young woman from the Denver area is lamenting her situation after having come to Chicago to find work, finding that three weeks of searching has left her with only 11 dollars, and she is feeling homesick. She sits down in a lounge and sees an older woman holding a Denver newspaper and crying, and thinking that they both were missing home and that the older woman could use a friendly word, she approaches her and tries to comfort her. Try the new "Tales of Escape & Suspense"- links below! ANDROID USERS- 1001 Tales of Escape & Suspense at Spotify - https://open.spotify.com/show/2HQYk53AJHTOgBTLBzyP3w 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify- https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 Ghost Stories & Tales of the Macabre on Spotify: https://open.spotify.com/show/5P4hV28LgpG89dRNMfSDKJ 1001 Stories for the Road on Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories on Spotify https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001 History's Best Storytellers: (INTERVIEWS) on Spotify https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr APPLE USERS New! 1001 Tales of Escape and Suspense at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-tales-of-escape-and-suspense/id1689248043 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices
All The Drama is hosted by Jan Simpson. It is a series of deep dives into the plays that have won The Pulitzer Prize for Drama. The Pulitzer Prize for Drama: “Alison's House”1931 Pulitzer winner “Alison's House”, by Susan Glaspell Susan Glaspell Wikipedia pagehttps://en.wikipedia.org/wiki/Susan_Glaspell About Susan Glaspell – The International read more The post All The Drama: “Alison's House” by Susan Glaspell, 1931 Pulitzer Prize Winner appeared first on BroadwayRadio.
Susan Glaspell's compassionate story of a professor as he reflects on a forty-year career and what it may have meant.
Lifted Masks by Susan Glaspell audiobook. In this collection of short stories, Susan Glaspell examines the unique character of America and its people. Learn more about your ad choices. Visit megaphone.fm/adchoices
240 - After seeing the beauty of 40 springs on campus, this glorious May day was spoiled for the professor by this: "Haven't you noticed . . . how he's losing his grip?" Tuck in for this gentle tale from the Mother-of-American-Drama."
Lifted Masks; stories
Welcome to the CodeX Cantina where our mission is to get more people talking about books! Was there a theme or meaning you wanted us to talk about further? Let us know in the comments below! We are talking about "A Jury of Her Peers" by Susan Glaspell today! Susan Glaspell playlist: https://www.youtube.com/watch?v=Nh9P98VBwkM&list=PLHg_kbfrA7YBGLluafr1f5ujDVdg6AjSa ✨Do you have a Short Story or Novel you'd think we'd like or would want to see us cover? Join our Patreon to pick our reads.
Fidelity by Susan Glaspell audiobook. The small Midwestern town of Freeport was scandalized years ago when Ruth Holland, then a young girl, ran away to the West with a married man. Now that she's returned home to take care of her dying father, she faces some hard truths about who her true friends are and where her life is headed.
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Poet and playwright Edna St. Vincent Millay was born in Rockland, Maine, on February 22, 1892. In 1912, Millay entered her poem "Renascence" to The Lyric Year's poetry contest, where she won fourth place and publication in the anthology. This brought her immediate acclaim and a scholarship to Vassar College, where she continued to write poetry and became involved in the theater. In 1917, the year of her graduation, Millay published her first book, Renascence and Other Poems (Harper, 1917). At the request of Vassar's drama department, she also wrote her first verse play, The Lamp and the Bell (1921), a work about love between women.After graduating from Vassar, Millay moved to New York City's Greenwich Village, where she lived with her sister Norma in a nine-foot-wide attic. Millay published poems in Vanity Fair, the Forum, and others while writing short stories and satire under the pen name Nancy Boyd. She and Norma acted with the Provincetown Players in the group's early days, befriending writers such as poet Witter Bynner, critic Edmund Wilson, playwright and actress Susan Glaspell, and journalist Floyd Dell. Millay publishedA Few Figs from Thistles (Harper & Brothers, 1920), a volume of poetry which drew much attention for its controversial descriptions of female sexuality and feminism. In 1923, Millay was awarded the Pulitzer Prize for The Ballad of the Harp-Weaver (Flying Cloud Press, 1922). In addition to publishing three plays in verse, Millay also wrote the libretto of one of the few American grand operas, The King's Henchman (Harper & Brothers, 1927).Millay married Eugen Boissevain in 1923, and the two were together for twenty-six years. Boissevain gave up his own pursuits to manage Millay's literary career, setting up the readings and public appearances for which Millay grew famous. Edna St. Vincent Millay died at the age of fifty-eight on October 18, 1950, in Austerlitz, New York.From https://poets.org/poet/edna-st-vincent-millay. For more information about Edna St. Vincent Millay:“Time does not bring relief; you all have lied”: https://www.poetryfoundation.org/poems/46464/time-does-not-bring-relief-you-all-have-lied“Edna St. Vincent Millay”: https://www.poetryfoundation.org/poets/edna-st-vincent-millayCollected Poems: https://www.harpercollins.com/products/collected-poems-edna-st-vincent-millay?variant=32205623427106“Defiant and Unsinkable: The Ethos of Edna St. Vincent Millay”: https://lithub.com/defiant-and-unsinkable-the-ethos-of-edna-st-vincent-millay/“How Fame Fed on Edna St. Vincent Millay”: https://www.newyorker.com/magazine/2022/05/16/how-fame-fed-on-edna-st-vincent-millay-diaries-rapture-melancholy
Literary critic and historian Joanna Scutts joins us to discuss Heterodoxy, a women-only debating group from the early 20th century that is the subject of her latest book, Hotbed: Bohemian Greenwich Village and the Secret Club That Sparked Modern Feminism. Notable members included Susan Glaspell and Charlotte Perkins Gilman of “The Yellow Wallpaper” fame.
March 31, 2022--Mendocino Theatre Company brings you their reading of SUPPRESSED DESIRES, a hilarious satire of contemporary fads written in 1915 by the Pulitzer Prize-winning playwright Susan Glaspell. The reading, directed by Lorry Lepaule, features Pamela W. Allen, Mark Friedrich, Ken Krauss, and Laura Pinyuh.
Guest Karie Jensen joins me on set this week as we discuss The Outside by Susan Glaspell.
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Poet and playwright Edna St. Vincent Millay was born in Rockland, Maine, on February 22, 1892. In 1912, Millay entered her poem "Renascence" to The Lyric Year's poetry contest, where she won fourth place and publication in the anthology. This brought her immediate acclaim and a scholarship to Vassar College, where she continued to write poetry and became involved in the theater. In 1917, the year of her graduation, Millay published her first book, Renascence and Other Poems (Harper, 1917). At the request of Vassar's drama department, she also wrote her first verse play, The Lamp and the Bell (1921), a work about love between women.After graduating from Vassar, Millay moved to New York City's Greenwich Village, where she lived with her sister Norma in a nine-foot-wide attic. Millay published poems in Vanity Fair, the Forum, and others while writing short stories and satire under the pen name Nancy Boyd. She and Norma acted with the Provincetown Players in the group's early days, befriending writers such as poet Witter Bynner, critic Edmund Wilson, playwright and actress Susan Glaspell, and journalist Floyd Dell. Millay publishedA Few Figs from Thistles (Harper & Brothers, 1920), a volume of poetry which drew much attention for its controversial descriptions of female sexuality and feminism. In 1923, Millay was awarded the Pulitzer Prize for The Ballad of the Harp-Weaver (Flying Cloud Press, 1922). In addition to publishing three plays in verse, Millay also wrote the libretto of one of the few American grand operas, The King's Henchman (Harper & Brothers, 1927).Millay married Eugen Boissevain in 1923, and the two were together for twenty-six years. Boissevain gave up his own pursuits to manage Millay's literary career, setting up the readings and public appearances for which Millay grew famous. Edna St. Vincent Millay died at the age of fifty-eight on October 18, 1950, in Austerlitz, New York.From https://poets.org/poet/edna-st-vincent-millay. For more information about Edna St. Vincent Millay:“Edna St. Vincent Millay”: https://www.poetryfoundation.org/poets/edna-st-vincent-millay“First Fig”: https://poets.org/poem/first-fig“Defiant and Unsinkable: The Ethos of Edna St. Vincent Millay”: https://lithub.com/defiant-and-unsinkable-the-ethos-of-edna-st-vincent-millay/
Winifred Holtby, Susan Glaspell, and essays – welcome to episode 99! Sorry for an unintended long break, but we’re back and Rachel even has a new mic – hopefully has helped with the sound issues, though there may be some
लाइब्रेरी में मिली उस महिला की ऐसी क्या हसरत थी जो उस लड़की का दिल छू गयी और उसे अपना ग़म भुला दिया? सुनिए सूज़न ग़लस्पेल की हृदय स्पर्शी कहानी - फ़ोर द लव ओफ़ द हिल्ज़ ( For the love of the Hills) का हिंदी रूपांतरण। Support PKJ by making a small contribution - https://rzp.io/l/supportpkj
September 30, 2021--Mendocino Theatre Company brings you a reading of Susan Glaspell's TICKLESS TIME, a one-act satire, written in 1918, that will have you laughing out loud! Read by the Mendocino Theater Company.
Empowering DiscussionClose the BookBy Susan GlaspellSept 29Director Charlique C. Rolle and actors Elissa Wolf, Simon Hedger, Sandy Spatz, Michael Lomenick, Daria Harper, David Goodloe, and Elisabeth Del Toro discuss privilege, women's empowerment and the contemporary themes of Susan Glaspell's 1917 one-act about an elite university family.Moderated by Artistic Director and We Women Producer, Julie ProudfootSupport the show (https://artemisiatheatre.org/donate/)
John Wright has been murdered. The men are searching the house. But is it their wives who will notice trifles that unlock the truth? County Attorney Henderson - Damian Corcoran Lewis Hale - Keith Crawford Sheriff Peters – Nicolas Calderbank Mrs Peters – Jolaine Beal Mrs Hale -Meg McNaughton Little Wonder Team – Keith Crawford, Owen Roberts, Chris Taylor, Oliver Warren Visit us at www.littlewonder.website
Audio PerformanceClose the Bookby Susan GlaspellPodcast #141September 15, 2021A comedy about an elite family enjoying their status as the power brokers of a University founded by their ancestors. Their grandson, a professor at the University, creates a controversy when he announces his engagement to a beautiful outspoken liberal with gypsy ancestry.CASTJHANSI – ELISSA WOLFPEYTON – SIMON HEDGERMRS. ROOT – SHERI REDAMRS. PEYTON – SANDY SPATZBESSIE – DARIA HARPERSENATOR BYRD – DAVID GOODLOEMRS. BYRD – ELISABETH DEL TOROUNCLE GEORGE – MICHAEL LOMENICKDirected by Charlique C. RolleSound Design by Willow JamesSupport the show (https://artemisiatheatre.org/donate/)
In 1915, two Davenport, Iowa, natives, Susan Glaspell and George Cram Cook, started a theater group in Provincetown on Cape Cod, Massachusetts, which turned out to have a profound influence on American drama forever. This visionary new company, the “Provincetown Players,” had humble beginnings in the private home of some sympathetic friends: Neith Boyce and Hutchins Hapgood. Many of the Provincetown shows featured a number of short scripts presented together in a single night of performance, and this program follows that tradition. First on the bill today is a script by Eugene O'Neill, first produced in January 1917. This script, unjustly neglected beside some of the playwrights more well known works, combines O'Neill's recurring fascination with the sea, including a setting especially reminiscent of the dangerous Atlantic crossing that had proved disastrous for the Titanic less than five years before the play was performed — with a lively debate on practical life and poetry, and a supernatural eeriness. The second play on today's bill is a shorter script entitled "Enemies" — it was first staged in the summer of 1916. It was written by those hospitable friends of Jig and Susan, Hutchins Hapgood and Neith Boyce, whose house was the first Provincetown Players' performance space, and who were Midwesterners just like Jig and Susan — Hutchins from Illinois and Neith from Indiana. Each of them reportedly wrote the lines for one of the two speaking parts, He and She respectively, in this collaborative, argumentative exploration of the meaning of love, marriage, and fidelity in the modern world. CREDITS (FOG) Narrator: Susan Perrin-Sallak A Poet: Merlin Nelson A Man of Business: Marc Nelson Third Officer of a Steamer: Philip Tunnicliff Sound Effects: BBC, LG (freesound.org), oldestmillenial (freesound.org) (ENEMIES) Narrator: Mischa Hooker He: Mike Braddy She: Andrea Braddy Director / Organizer / Sound Editor: Mischa Hooker Opening and closing music: Borodin, String Quartet No. 2 in D Major, 1st and 4thmovements (performed by Musopen String Quartet) Theme music for program: Chopin, Waltz in A-flat major, Op. 69, no. 1 (performed by Olga Gurevich)
adapted from Glaspell's one-act play Trifles based on a murder case she covered as a reporter for the Des Moines Daily News. --- Support this podcast: https://anchor.fm/hmphaudiobooks/support
In today's episode, Gina discusses the many benefits of bathing frequently on mental health, depression and anxiety. Research is cited which indicates bathing frequently is linked to better sleep and cardiovascular health. A number of suggestions are included for taking your bathing to a new level, as well as what to do if you don't have a tub. Article mentioned in today's episode https://draxe.com/health/bathing/ Join the NEW ACP SUPERCAST PREMIUM AD-FREE MEMBERSHIP https://www.theanxietycoachespodcast.com/adfree Listen to the entire back catalog ad-free and more! https://anxietycoaches.supercast.tech To learn more go to: http://www.theanxietycoachespodcast.com Join our Group Coaching Full or Mini Membership Program Learn more about our One-on-One Coaching What is anxiety? Quote: I can't think of any sorrow in the world that a hot bath wouldn't help, just a little bit. -Susan Glaspell
In today's episode, Gina discusses the many benefits of bathing frequently on mental health, depression and anxiety. Research is cited which indicates bathing frequently is linked to better sleep and cardiovascular health. A number of suggestions are included for taking your bathing to a new level, as well as what to do if you don't have a tub. Episode supported by Ned If you want to check out Ned and try their CBD for yourself, we have a special offer for the Anxiety Coaches Podcast audience. Go to https://www.helloned.com/ACP or enter ACP at checkout for 15% off your first one-time order or 20% off your first subscription order plus FREE shipping. Thank you Ned! Article mentioned in today's episode https://draxe.com/health/bathing/ Join the NEW ACP SUPERCAST PREMIUM AD-FREE MEMBERSHIP https://www.theanxietycoachespodcast.com/adfree Listen to the entire back catalog ad-free and more! https://anxietycoaches.supercast.tech To learn more go to: http://www.theanxietycoachespodcast.com Join our Group Coaching Full or Mini Membership Program Learn more about our One-on-One Coaching What is anxiety? Quote: I can't think of any sorrow in the world that a hot bath wouldn't help, just a little bit. -Susan Glaspell
Live Audio Play Reading of TRIFLES Written by Susan Glaspell Produced by Sandcastle Theater Company Adapted and directed by Ariella Wolfe Stage Management by J. Lynn Dutra Featuring Tatiana Quiapo as NARRATOR, Warren Foster as ATTORNEY HENDERSON, Emily Keyishian as MRS. PETERS, Jerome St. Jerome as SHERIFF PETERS, Sheila M. Devitt as MRS. HALE, and Jason Oler as MR. HALE About The Play: A man is dead. His wife is in jail. In a midwestern farmhouse in the winter of 1900, two women unravel the mystery of what happened, and who is responsible. *Content Warning: murder investigation About the Playwright: Susan Glaspell (1876-1948) was an American playwright, novelist, journalist and actress. She founded the Provincetown Players with her husband George Cram Cook, which is considered the first modern American theatre company. She was well-known for her short stories, and her play “Alison's House” (1930) earned her the Pulitzer Prize for Drama. Glaspell is recognized as a pioneering feminist writer and one of America's first modern female playwrights. Music Credits: “Fly By Night” by Paul Fowler Sandcastle Theater Company is an emerging theater company committed to nurturing and producing new plays, growing a broader theater community, and creating accessible opportunities for people to experience original stories. Follow us on social media at facebook.com/sandcastletheaterco and @sandcastletheaterco on Instagram.
A sweet, sleepy story by Susan Glaspell about accepting loss and learning to live again. The spring flowers are still amazing around here. If you want to see a picture of the California-native red ribbons that I took down by the creek this week, it's on my blog at https://www.listentosleep.com/blog/red-ribbons/. If the podcast helps you sleep and you'd like to support my dream of being your bedtime storyteller from my cozy mountain cabin, please consider subscribing to Listen To Sleep Plus at https://open.acast.com/public/patreon/fanSubscribe/3437112. For just $4.99 a month, subscribers get 8 new ad-free episodes a month and much more. Thank you so much for your support. You can read this story (and other public domain classics) for free at https://www.gutenberg.org/ebooks/18709. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
April 29, 2021--Join the Mendocino Theatre Company for a reading of the one-act comedy WOMAN'S HONOR by Pulitzer Prize-winning playwright Susan Glaspell. It's a witty satire of the sexual double standard that is sure to make you smile!
Join us as we discuss our most recent production with some of our cast members. Learn more about the playwright Susan Glaspell, and ponder some of the moral quandaries she presents in Trifles. Information about Susan Glaspell courtesy of the Norton Anthology of Drama Volume 2 and americanliterature.com. Follow us on Instagram @teatimeradiotheatreco Music: Bright Wish by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3458-bright-wish License: https://filmmusic.io/standard-license
In our first episode, we perform Trifles, by Susan Glaspell. This production includes content that may be upsetting to some listeners, such as descriptions of violence and domestic abuse. Follow us on Instagram @teatimeradiotheatreco Featuring the voice talents of Alexandra Stroming as Mrs. Hale Camille André as Mrs. Peters Evan Olson as the Sheriff Jonah Hill as Mr. Hale Tyler Appleby as Mr. Henderson the County Attorney Narrated and Directed by Monika Hash Sound Design and Production by Kjiersten Schmidt Music: Bright Wish by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3458-bright-wish License: https://filmmusic.io/standard-license
Welcome to the Tea Time Radio Theatre Company! Tune in to listen to us perform and discuss obscure plays you may not be familiar with. In this preview, hear a sneak peek of Trifles by Susan Glaspell. Our first episode will be out Friday, March 26! Follow us on Instagram @teatimeradiotheatreco Music by Tyler Appleby
Is it possible for a small woman to hang a man? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Written by the reporter that covered the shocking crime . . . --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Suppressed Desires by Susan Glaspell and George Cram Cook Cast Narrator: Kitty Israel Henrietta: Mattie Gelaude Stephen: Andrew Bruning Mabel: Jo Vasquez Director / Organizer / Sound Editor: Mischa Hooker Sound effects: Mischa Hooker and Caroline Ford Intro / outro music: Joseph C. Smith’s Orchestra, “Smiles” Theme music: Chopin, Waltz in A flat Major, Opus 69, number 1, performed by Olga Gurevich. The Game by Louise Bryant Cast Narrator: Kathy Calder Death: Mike Carron Life: Angela Rathman Youth: Andrew Calder The Girl: Brianna Gray Director / Organizer / Sound Editor: Mischa Hooker Sound effects by Mike Koenig Background Music by Royalty Free Music Theme music: Chopin, Waltz in A flat Major, Opus 69, number 1, performed by Olga Gurevich. Background In 1915, two Davenport, Iowa, natives, Susan Glaspell and George Cram Cook, started a theater group in Provincetown on Cape Cod, Massachusetts, which turned out to have a profound influence on American drama forever. Many of the Provincetown shows featured a number of short scripts presented together in a single night of performance, and this program follows that tradition. For more information about the Provincetown Players, Glaspell, Cook, and their connection to the Quad Cities, visit www.genesius.org/provincetown-players.php First on the bill today is that first play written by Susan and Jig, “Suppressed Desires.” In our performance, the role of Henrietta is played by Mattie Gelaude, her husband Stephen is played by Andrew Bruning, her sister Mabel by Jo Vasquez; the narrator is Kitty Israel. The second play on today’s bill is a shorter script entitled “The Game: A Morality Play,” a highly stylized, symbolic meditation on the human condition by Louise Bryant, a journalist and feminist activist who arrived on the scene fresh from Portland, Oregon, brought out to the East Coast by a burgeoning love affair with Oregon native John Reed. He described her as “an artist, a rampant, joyous individualist, a poet and a revolutionary.” This script was written and first staged in the 1916, with World War I raging in Europe. The horror and ravages of war looming on the horizon, along with the personal dramas of romantic relationships such as that of Louise Bryant and John Reed themselves, were the large-scale and small-scale backdrops for the piece, which features a personified Life and Death, playing their game with the lives and deaths of human beings, such as the poet and the dancer who meet under their supervision. In today’s program, Life is played by Angela Rathman, Death by Mike Carron, Youth (the poet) by Andrew Calder, and the Girl by Brianna Gray; the narrator is Kathy Calder.
For the months of January and February, we're exploring some one act plays that we've adapted for your listening pleasure! This week, we give you Susan Glaspell's Trifles.This episode was written by Susan Glaspell, adapted and directed by Phil Pineau & Gina Stanton, and edited by Gina Stanton. It features the vocal talents of Amanda Booth, Jennifer Wallace, Jenna Isabella, David Neilsen, Phil Pineau, and Ken Shelby.This episode is available on our website at www.phoenixtheatreartsco.com/audio-drama-series.PTAC’s Audio Drama Series is a production by the Phoenix Theatre and Arts Company. Original PTAC music by Brian Sanyshyn. For a full listing of credits, visit us at phoenixtheatreartsco.com. While you’re there, please consider clicking the donate link. That would be delightful! Have comments or questions? Email us at phoenixtheatreartsco@gmail.com, or find us on social media!Out next episode will be Love is No Myth, Part 1, premiering on March 12, 2021.Support the show (https://www.patreon.com/bePatron?u=39614413&redirect_uri=https%3A%2F%2Fwww-phoenixtheatreartsco-com.filesusr.com%2Fhtml%2Ffc904a_bf415b2f3775c2232bf37768b59b0b07.html&utm_medium=widget)
For the months of January and February, we're exploring some one act plays that we've adapted for your listening pleasure! This week, we give you Lady Gregory’s ”Spreading the News,” an exploration of small town gossip and rumors.This episode was written by Lady Gregory, adapted and directed by Jenna Isabella, and edited by John Isabella III. It features the vocal talents of Amanda Booth, Gina Stanton, Ryan Snanoud, Justin Chumas, Sean Latasa, John Isabella III, Nick Tuosto, David Neilsen, & Rachel Zenhausern.This episode is available on our website at www.phoenixtheatreartsco.com/audio-drama-series.PTAC’s Audio Drama Series is a production by the Phoenix Theatre and Arts Company. Original PTAC music by Brian Sanyshyn. For a full listing of credits, visit us at phoenixtheatreartsco.com. While you’re there, please consider clicking the donate link. That would be delightful! Have comments or questions? Email us at phoenixtheatreartsco@gmail.com, or find us on social media!Out next episode will be Susan Glaspell’s Trifles, which will be shared with you on February 26, 2021.Support the show (https://www.patreon.com/bePatron?u=39614413&redirect_uri=https%3A%2F%2Fwww-phoenixtheatreartsco-com.filesusr.com%2Fhtml%2Ffc904a_bf415b2f3775c2232bf37768b59b0b07.html&utm_medium=widget)
"A Jury of Her Peers" is a short story by Susan Glaspell, adapted from her one-act play "Trifles" exploring a murder mystery...Uitgegeven door SAGA EgmontSpreker(s): B. J. Harrison
For the months of January and February, we're exploring some one act plays that we've adapted for your listening pleasure! This week, we give you Susan Glaspell's "The People," which tells the story of a failing publication, and the people it inspired.This episode was written by Susan Glaspell, adapted and directed by Phil Pineau and Gina Stanton, and edited by Gina Stanton. It features the vocal talents of Amanda Booth, Jenna Isabella, John Isabella III, Gina Stanton, Sam Steere, Ken Shelby, & Joe Coppola, along with PTAC newcomers Justin Chumas, Jennifer Wallace, Kym Smith, Ryan Snanoudj, and David Neilsen.This episode is available on our website at www.phoenixtheatreartsco.com/audio-drama-series.PTAC’s Audio Drama Series is a production by the Phoenix Theatre and Arts Company. Original PTAC music by Brian Sanyshyn. For a full listing of credits, visit us at phoenixtheatreartsco.com. While you’re there, please consider clicking the donate link. That would be delightful! Have comments or questions? Email us at phoenixtheatreartsco@gmail.com, or find us on social media! Support the show (https://www.patreon.com/bePatron?u=39614413&redirect_uri=https%3A%2F%2Fwww-phoenixtheatreartsco-com.filesusr.com%2Fhtml%2Ffc904a_bf415b2f3775c2232bf37768b59b0b07.html&utm_medium=widget)Out next episode will be The Last Comedienne, which will be shared with you on January 29, 2021.Support the show (https://www.patreon.com/bePatron?u=39614413&redirect_uri=https%3A%2F%2Fwww-phoenixtheatreartsco-com.filesusr.com%2Fhtml%2Ffc904a_bf415b2f3775c2232bf37768b59b0b07.html&utm_medium=widget)
Olivia and Jay discuss the trifles in Trifles by Susan Glaspell! --- Support this podcast: https://anchor.fm/high-brow-theatre/support
Reading and analysis of a one-act play. Recommended for high school. First warning: I read all five parts myself. May the universe have mercy. Second warning: themes and descriptions of death, murder, abuse, and animal abuse/murder. Third warning: The material for the second warning makes me curse a couple of times, so language warning. It's an excellent play, though, with much to say about gender, stereotypes and sexism, and about relationships and social mores. Full text: https://www.one-act-plays.com/dramas/trifles.html
I thought I'd offer this alternative when celebrating the Parlando Project's 500th audio piece today, and so this is just the musical composition I did for my presentation of a bit of Susan Glaspell's pioneering play. For more about this and the Parlando Project see frankhudson.org
Presenting a small part of Susan Glaspell's pioneering play meshed with orchestral music. This is the Parlando Project's 500th audio piece, and to find more about this, and more combinations of various words with original music go to frankhudson.org
Listen to the actors and director of Trifles by Susan Glaspell discuss what it was like for them to prepare for and perform in this radio drama production. This was a live zoom conference on October 4, 2020. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Josh, Chris, and John, discuss Susan Glaspell's Alison's House. In this episode, they talk about poetry, who art belongs to, and Emily Dickinson.
Enjoy this wonderful diverse cast of Chicago Actors reading THE PEOPLE, by Pulitzer Prize-Winning playwright Susan Glaspell. A prescient one-act play about a struggling socialist magazine and the women who believe in it. CASTLindsay Tornquist as Woman from Idaho, Al’Jaleel McGhee as the Editor, Ben Cumings as Oscar, Kirstin Franklin as Sara, Tom McGrath as the Printer, Harmony Zhang as Light Touch/Firebrand, Jake Drummond as Boy from Georgia, Myesha-Tiara as Philosopher/Earnest Approach, Whitney Dottery as the Artist, and Brad Walker as Man from the Cape.LEARN MORE ABOUT SUSAN GLASPELLGet your ticket to our virtual world premiere production of GOODS today at artemisiatheatre.org!Written by Lauren Ferebee, directed by E. Faye Butler and starring Julie Proudfoot and Shariba Rivers.Support the show (https://artemisiatheatre.org/donate/)
In the early 19th century country a farmer is murdered in his home. While investigated, local authorities task a local women with gathering a few things for the wife who was arrested for the crime. Susan Glaspell wrote a one-act play which she adapted into "A Jury of Her Peers” It is loosely based on a murder covered while working as a reporter for the Des Moines Daily News.
A play about authorities showing up to investigate a murder, Was the Murder Just? let me know in the comments , don't forget to subscribe
Mini Month Week 4: "Trifles" by Susan Glaspell In this final episode of Mini Month, Jackson and Jacob discuss one of the most famous one acts of all time... "Trifles" by Susan Glaspell! What happens when a small-town woman is accused of killing her husband? How does the investigation - primarily conducted by men - show the biases of the time? Glaspell's classic short play is an early example of feminist drama. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue. https://www.patreon.com/noscriptpodcast ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at: Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We’ll see you next week.
A 73 year-old small college professor comes to the realization that he must retire soon, and finds inspiration from one of his best students. Support our show and checkout www.simplisafe.com/1001! Only 14.99/mo- no long contracts-no tools required. This is a great product- highly reviewed (40,000 Amazon reviews)- we recommend it. NEW Enjoy THE 1001 HISTORY CHALLENGE on Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-history-challenge/id1482436263 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Enjoy 1001 Greatest Love Stories on Android devices here: https://www.stitcher.com/s?fid=479022&refid=stpr. Get all of our shows at one website: www.1001storiespodcast.com HERE: (main website all 1001 shows) https://www.1001storiespodcast.com or HERE: at Google Play: https://play.google.com/music/listen?u=0#/ps/Iwdojx2zx4jj2xj25fwupwrdcxq or HERE at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-history-challenge/id1482436263 CALLING ALL FANS.. REVIEWS NEEDED FOR NEW SHOWS! REVIEWS NEEDED FOR NEW SHOWS! A SECOND NEW SHOW AT 1001- 1001 HISTORY'S BEST STORYTELLERS- OUR INTERVIEWS WITH SOME OF TODAY'S BEST HISTORY AUTHORS ...LINKS BELOW... all shows available at www.1001storiespodcast.com The Apple Podcast Link for 1001 History's Best Storytellers: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 The Stitcher.com link for 1001 History's Best Storytellers is:: https://www.stitcher.com/s?fid=474955&refid=stpr. SUPPORT OUR SHOW BY BECOMING A PATRON! www.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS AND SUBSCRIPTIONS AT APPLE/ITUNES AND ALL ANDROID HOSTS ARE NEEDED AND APPRECIATED! LINKS BELOW... Open these links to enjoy our shows! APPLE USERS Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Catch 1001 Heroes on any Apple Device here (Free): https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 CLASSIC SHORT STORIES at iTunes/apple Podcast App Now: https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at iTunes/Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901
In this great short story, a young woman from the Denver area is lamenting her situation after having come to Chicago to find work, finding that three weeks of searching has left her with only 11 dollars, and she is feeling homesick. She sits down in a lounge and sees an older woman holding a Denver newspaper and crying, and thinking that they both were missing home and that the older woman could use a friendly word, she approaches her and tries to comfort her. Our family-friendly 1001 network needs your support at www.patreon.com/1001storiespodcast.com Thank you! NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 We NEED new reviews here! Enjoy 1001 Greatest Love Stories on Android devices here: https://www.stitcher.com/s?fid=479022&refid=stpr. Get all of our shows at one website: www.1001storiespodcast.com CALLING ALL FANS.. REVIEWS NEEDED FOR NEW SHOWS! REVIEWS NEEDED FOR NEW SHOWS! A SECOND NEW SHOW AT 1001- 1001 HISTORY'S BEST STORYTELLERS- OUR INTERVIEWS WITH SOME OF TODAY'S BEST HISTORY AUTHORS ...LINKS BELOW... all shows available at www.1001storiespodcast.com The Apple Podcast Link for 1001 History's Best Storytellers: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 The Stitcher.com link for 1001 History's Best Storytellers is:: https://www.stitcher.com/s?fid=474955&refid=stpr. SUPPORT OUR SHOW BY BECOMING A PATRON! www.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS AND SUBSCRIPTIONS AT APPLE/ITUNES AND ALL ANDROID HOSTS ARE NEEDED AND APPRECIATED! LINKS BELOW... Open these links to enjoy our shows! APPLE USERS Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Catch 1001 Heroes on any Apple Device here (Free): https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 CLASSIC SHORT STORIES at iTunes/apple Podcast App Now: https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at iTunes/Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 ANDROID USERS- 1001 Radio Days right here at Player.fm FREE: https://player.fm/series/1001-radio-days 1001 Classic Short Stories & Tales:https://castbox.fm/channel/1001-Classic-Short-Stories-%26-Tales-id1323543?country=us 1001 Heroes, Legends, Histories & Mysteries: https://castbox.fm/channel/1001-Heroes%2C-Legends%2C-Histories-%26-Mysteries-Podcast-id1323418?country=us 1001 Stories for the Road:https://castbox.fm/channel/1001-Stories-For-The-Road-id1324757?country=us Catch ALL of our shows at one place by going to www.1001storiesnetwork.com- our home website with Megaphone.
It's time to escape today's hectic life and head for a different time- a time when there was no internet or tv, a time when people actually wrote handwritten love letters, and a time when the word "stress" was a term relegated to physics classes. Master storyteller J.R. Hagadorn (1001 Stories Network) and guest hosts provide an entertaining mix of classic short stories from the 19th and 20th centuries, combined with occasional short novels and even radio dramas-all of which are wonderfully produced and chosen to entertain listeners. Some authors to expect: Louisa May Alcott, O'Henry, Willa Cather, Kate Chopin. Edith Wharton, Anton Chekhov, Susan Glaspell, Guy de Maupassant, M.R. James, H.H. Munro (Saki)., Jack London, and many others. 1001 Greatest Love Stories is created for and dedicated to our many fans and reviewers at 1001 Classic Short Stories & Tales who have requested more stories dealing with love, home, and hearth. New episodes every Wednesday night at 8pm ET.
Murder, pilgrims, theater & revolutionary women - this episode has it all! Get Let heads to Iowa and Provincetown, MA to explore the sensational legacy of activist, author, and artist, Susan Glaspell!
"A Jury of Her Peers", a tense drama written in 1917, is a short story by Susan Glaspell, loosely based on the 1900 murder of John Hossack , which Glaspell covered while working as a journalist[ for the Des Moines Iowa Daily News. It is seen as an example of early feminist literature because two female characters are able to solve a mystery that the male characters cannot. They are aided by their knowledge of women's psychology. The story was adapted into an episode of the 1950s TV series Alfred Hitchcock Presents. It was also adapted into a 30-minute film by Sally Heckel in 1980. The film was nominated for an Academy Award for Best Live Action Short Film. TWO NEW MEMBER ONLY SHOWS NOW AVAILABLE TO PATRONS! www.patreon.com/1001storiesnetwork. Thank you. Join for one dollar a month and get THE BEST OF 1001, mostly ad free! Join at 2.99/month and up and get PRIME CUTS- visit us at http://.patreon.com/1001storiesnetwork and check us out! YOUR REVIEWS AND SUBSCRIPTIONS AT APPLE/ITUNES AND ALL ANDROID HOSTS ARE NEEDED AND APPRECIATED! LINKS BELOW... APPLE USERS Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Catch 1001 Heroes on any Apple Device here (Free): https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 CLASSIC SHORT STORIES at iTunes/apple Podcast App Now: https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at iTunes/Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 ANDROID USERS- 1001 Radio Days right here at Player.fm FREE: https://player.fm/series/1001-radio-days 1001 Classic Short Stories & Tales:https://castbox.fm/channel/1001-Classic-Short-Stories-%26-Tales-id1323543?country=us 1001 Heroes, Legends, Histories & Mysteries: https://castbox.fm/channel/1001-Heroes%2C-Legends%2C-Histories-%26-Mysteries-Podcast-id1323418?country=us 1001 Stories for the Road:https://castbox.fm/channel/1001-Stories-For-The-Road-id1324757?country=us Catch ALL of our shows at one place by going to www.1001storiesnetwork.com- our home website with Megaphone.
John Wright has been murdered: hanged by the neck as his wife slept besides him. She is incoherent and imprisoned. The Countey Attorney and the Sheriff search the house for some clue, some motive, some means of entry. But have their wives noticed more - some trifle that explains what really happened that night? An early feminist classic from Susan Glaspell. https://www.littlewonder.website With Damian Corcoran as the Countey Attorney Jolaine Beal as Mrs Peters Nicolas Calderbank as the Sheriff Keith Crawford as Mr Hale and Meg McNaughton as Mrs Hale Directed by Keith Crawford Music and Sound by Chris Taylor The Little Wonder team are Keith Crawford, Owen Roberts, Chris Taylor and Oliver Warren. iTunes: https://itunes.apple.com/fr/podcast/little-wonder-radio-plays/id1408132317?l=en&mt=2 RSS Feed: http://feeds.soundcloud.com/users/soundcloud:users:435165690/sounds.rss Release Schedule: https://www.aboutwriting.org/little-wonder-radio-plays/release-schedule/ https://twitter.com/littlwonder https://www.facebook.com/littlewonderradioplays/ https://www.instagram.com/littlewonderradioplays/ Thanks for listening – don’t forget to like, comment and share!
Nita June Davanzo of DogStar Theater Company joins Maggie and Anna to discuss Intimate Constellations, DogStar’s upcoming evening of stories, music, conversation and wine featuring the works of Arthur Miller, Susan Glaspell, Sam Shepherd, Tenessee Williams and more. Photographer/Artist Nathaniel Gray stops by to discuss Santa Barbara Project, his two-year community photography project featuring black
On its surface, “A Jury of Her Peers” by Susan Glaspell appears a simple detective story, but through extensive dialogue between two women, Glaspell slowly reveals the story's true underlying conflict: the struggle of women in a male-dominated society.
On its surface, “A Jury of Her Peers” by Susan Glaspell appears a simple detective story, but through extensive dialogue between two women, Glaspell slowly reveals the story's true underlying conflict: the struggle of women in a male-dominated society.
Join David Kern, Angelina Stanford, and Heidi White, for an exploration of Susan Glaspell's short story, "A Jury of Her Peers." Topics include the possible feminist ideas in the story, the question (or non-question) of justice, how the men in the story should be read, the private vs public lives of the women in the story, and much more. Click here to sign up for the Close Reads email newsletter. See acast.com/privacy for privacy and opt-out information.
A reading of Part 2 of The Most Dangerous Game. Written by Susan Glaspell. Read by Kelly Nugent. Responded to by Kelly Nugent and Lindsay Katai.Follow Public Domain Theater on Instagram and Twitterhttp://twitter.com/publicdomainpodhttp://instagram.com/publicdomainpodPublic Domain Theater is a Forever Dog Podcasthttp://foreverdogproductions.com/fdpn/podcasts/public-domain-theater/
A reading of Part 2 of A Jury of Her Peers. Written by Susan Glaspell. Read by Kelly Nugent. Responded to by Kelly Nugent and Lindsay Katai.Follow Public Domain Theater on Instagram and Twitterhttp://twitter.com/publicdomainpodhttp://instagram.com/publicdomainpodPublic Domain Theater is a Forever Dog Podcasthttp://foreverdogproductions.com/fdpn/podcasts/public-domain-theater/
A reading of Part 1 of A Jury of Her Peers. Written by Susan Glaspell. Read by Kelly Nugent. Responded to by Kelly Nugent and Lindsay Katai.Follow Public Domain Theater on Instagram and Twitterhttp://twitter.com/publicdomainpodhttp://instagram.com/publicdomainpodPublic Domain Theater is a Forever Dog Podcasthttp://foreverdogproductions.com/fdpn/podcasts/public-domain-theater/
This week on StoryWeb, Susan Glaspell’s play Trifles. Born in 1876, Susan Glaspell was a prominent novelist, short story writer, journalist, biographer, actress, and, most notably, playwright, winning the 1931 Pulitzer Prize for Drama for her play Alison’s House. She and her husband, George Cram Cook, founded the ground-breaking Provincetown Players, widely known as the first modern American theater company. In fact, it was Glaspell who discovered dramatist Eugene O’Neill as she was searching for a new playwright to feature at the theater. Though she was a widely acclaimed author during her lifetime, with pieces in Harper’s and Ladies’ Home Journal and with books on the New York Times bestsellers list, Glaspell is little known today. She comes down to us for two related works: her one-act play Trifles, written in 1916, and a short story based on the play, “A Jury of Her Peers,” written in 1917. The play and the story were based on Margaret Hossack’s murder trial, which Glaspell covered as a young reporter for the Des Moines Daily News in her home state of Iowa. Trifles – which she wrote in just ten days – is a masterful account of the way two housewives successfully unravel the mystery of another housewife’s murder of her husband. Mr. Wright has been found dead in his bedroom, strangled with a rope. His wife, Mrs. Wright, is in the kitchen, acting “queer,” according to Mr. Hale, the neighbor who initially discovers the murder. The play takes place the day after the murdered man is discovered and after his wife has been taken to jail. Three prominent men of the community – Sheriff Peters, County Attorney Henderson, and Mr. Hale – go to investigate the murder scene. Sheriff Peters and Mr. Hale bring their wives along with them, just in case they can discover any clues to the murder. It is widely assumed that Mrs. Wright killed her husband, but what is her motive? The three men are truly stumped. What would cause an ordinary housewife in a seemingly calm and tidy home to kill her husband? As the detectives are investigating the murder scene in the bedroom upstairs, Mrs. Peters and Mrs. Hale look around the kitchen and the parlor. Little by little, they begin to spy clues to Mrs. Wright’s emotional state. Erratic stitches in a piece of quilting when all the other needlework was straight, beautiful, unblemished. An empty birdcage with a broken door. A dead canary – its neck twisted – hidden in Mrs. Wright’s sewing basket in a piece of silk. The women realize without even speaking to each other that Mr. Wright had killed the bird and driven his wife to murder. And with silent, knowing looks at each other, they decide not to tell the men what they’ve discovered. For an outstanding reworking of Glaspell’s play, see Kaye Gibbons’s 1991 novel, A Cure for Dreams. Gibbons, a North Carolina writer, obviously had Trifles in mind as she depicts ##, a character who “hides” her crime in her quilting. You can learn more about the connections between Trifles and A Cure for Dreams in my first book, A Southern Weave of Women: Fiction of the Contemporary South. (Check out Chapter 6, “The Southern Wild Zone: Voices on the Margins.” My discussion of A Cure for Dreams begins on page 194, and I explore the links between Glaspell and Gibbons on pages 201-202.) Trifles also make me think of Adrienne Rich’s early poem “Aunt Jennifer’s Tigers.” The elderly Aunt Jennifer has spent her adult life being “mastered” by her husband. His ring – that is, her wedding band – weighs heavy on her hand. But that weight doesn’t stop her from creating scenes of liberation, power, and strength in her needlepoint. In her tapestry, Aunt Jennifer depicts tigers – “prancing, proud and unafraid.” There’s a story there, Rich seems to say, a sign for those who are adept enough to read it. Finally, Trifles reminds me of African American women quilters who sewed into their quilts messages about the underground railroad. The classic study of these quilts is Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad. Something seemingly so simply and utilitarian as a quilt has the power to be subversive. As Alice Walker notes in her landmark essay “In Search of Our Mothers’ Gardens,” women’s creativity – and the clues it provides to women’s lives – can be found everywhere if one simply knows where to look. Quilts, gardens, kitchens – “just” women’s work – can illuminate the secrets of women’s lives. One thing’s for sure: Glaspell’s work deserves more attention. Oxford University Press published Linda Ben-Zvi’s biography of Glaspell in 2005, and both Trifles and “A Jury of Her Peers” are widely anthologized and frequently taught in classrooms across the country. If you want to join me in learning more about Glaspell, visit the website of the International Susan Glaspell Society. They even offer a timeline of Glaspell’s writing of Trifles. And to learn about Glaspell’s most enduring legacy, the Provincetown Players, visit the Provincetown Playhouse website, dedicated to preserving the history of this truly revolutionary theater. Listen now as I read Susan Glaspell’s short story “A Jury of Her Peers” in its entirety. When Martha Hale opened the storm-door and got a cut of the north wind, she ran back for her big woolen scarf. As she hurriedly wound that round her head her eye made a scandalized sweep of her kitchen. It was no ordinary thing that called her away—it was probably farther from ordinary than anything that had ever happened in Dickson County. But what her eye took in was that her kitchen was in no shape for leaving: her bread all ready for mixing, half the flour sifted and half unsifted. She hated to see things half done; but she had been at that when the team from town stopped to get Mr. Hale, and then the sheriff came running in to say his wife wished Mrs. Hale would come too—adding, with a grin, that he guessed she was getting scarey and wanted another woman along. So she had dropped everything right where it was. "Martha!" now came her husband's impatient voice. "Don't keep folks waiting out here in the cold." She again opened the storm-door, and this time joined the three men and the one woman waiting for her in the big two-seated buggy. After she had the robes tucked around her she took another look at the woman who sat beside her on the back seat. She had met Mrs. Peters the year before at the county fair, and the thing she remembered about her was that she didn't seem like a sheriff's wife. She was small and thin and didn't have a strong voice. Mrs. Gorman, sheriff's wife before Gorman went out and Peters came in, had a voice that somehow seemed to be backing up the law with every word. But if Mrs. Peters didn't look like a sheriff's wife, Peters made it up in looking like a sheriff. He was to a dot the kind of man who could get himself elected sheriff—a heavy man with a big voice, who was particularly genial with the law-abiding, as if to make it plain that he knew the difference between criminals and non-criminals. And right there it came into Mrs. Hale's mind, with a stab, that this man who was so pleasant and lively with all of them was going to the Wrights' now as a sheriff. "The country's not very pleasant this time of year," Mrs. Peters at last ventured, as if she felt they ought to be talking as well as the men. Mrs. Hale scarcely finished her reply, for they had gone up a little hill and could see the Wright place now, and seeing it did not make her feel like talking. It looked very lonesome this cold March morning. It had always been a lonesome-looking place. It was down in a hollow, and the poplar trees around it were lonesome-looking trees. The men were looking at it and talking about what had happened. The county attorney was bending to one side of the buggy, and kept looking steadily at the place as they drew up to it. "I'm glad you came with me," Mrs. Peters said nervously, as the two women were about to follow the men in through the kitchen door. Even after she had her foot on the door-step, her hand on the knob, Martha Hale had a moment of feeling she could not cross that threshold. And the reason it seemed she couldn't cross it now was simply because she hadn't crossed it before. Time and time again it had been in her mind, "I ought to go over and see Minnie Foster"—she still thought of her as Minnie Foster, though for twenty years she had been Mrs. Wright. And then there was always something to do and Minnie Foster would go from her mind. But now she could come. The men went over to the stove. The women stood close together by the door. Young Henderson, the county attorney, turned around and said, "Come up to the fire, ladies." Mrs. Peters took a step forward, then stopped. "I'm not—cold," she said. And so the two women stood by the door, at first not even so much as looking around the kitchen. The men talked for a minute about what a good thing it was the sheriff had sent his deputy out that morning to make a fire for them, and then Sheriff Peters stepped back from the stove, unbuttoned his outer coat, and leaned his hands on the kitchen table in a way that seemed to mark the beginning of official business. "Now, Mr. Hale," he said in a sort of semi-official voice, "before we move things about, you tell Mr. Henderson just what it was you saw when you came here yesterday morning." The county attorney was looking around the kitchen. "By the way," he said, "has anything been moved?" He turned to the sheriff. "Are things just as you left them yesterday?" Peters looked from cupboard to sink; from that to a small worn rocker a little to one side of the kitchen table. "It's just the same." "Somebody should have been left here yesterday," said the county attorney. "Oh—yesterday," returned the sheriff, with a little gesture as of yesterday having been more than he could bear to think of. "When I had to send Frank to Morris Center for that man who went crazy—let me tell you, I had my hands full yesterday. I knew you could get back from Omaha by to-day, George, and as long as I went over everything here myself—" "Well, Mr. Hale," said the county attorney, in a way of letting what was past and gone go, "tell just what happened when you came here yesterday morning." Mrs. Hale, still leaning against the door, had that sinking feeling of the mother whose child is about to speak a piece. Lewis often wandered along and got things mixed up in a story. She hoped he would tell this straight and plain, and not say unnecessary things that would just make things harder for Minnie Foster. He didn't begin at once, and she noticed that he looked queer—as if standing in that kitchen and having to tell what he had seen there yesterday morning made him almost sick. "Yes, Mr. Hale?" the county attorney reminded. "Harry and I had started to town with a load of potatoes," Mrs. Hale's husband began. Harry was Mrs. Hale's oldest boy. He wasn't with them now, for the very good reason that those potatoes never got to town yesterday and he was taking them this morning, so he hadn't been home when the sheriff stopped to say he wanted Mr. Hale to come over to the Wright place and tell the county attorney his story there, where he could point it all out. With all Mrs. Hale's other emotions came the fear now that maybe Harry wasn't dressed warm enough—they hadn't any of them realized how that north wind did bite. "We come along this road," Hale was going on, with a motion of his hand to the road over which they had just come, "and as we got in sight of the house I says to Harry, 'I'm goin' to see if I can't get John Wright to take a telephone.' You see," he explained to Henderson, "unless I can get somebody to go in with me they won't come out this branch road except for a price I can't pay. I'd spoke to Wright about it once before; but he put me off, saying folks talked too much anyway, and all he asked was peace and quiet—guess you know about how much he talked himself. But I thought maybe if I went to the house and talked about it before his wife, and said all the women-folks liked the telephones, and that in this lonesome stretch of road it would be a good thing—well, I said to Harry that that was what I was going to say—though I said at the same time that I didn't know as what his wife wanted made much difference to John—" Now, there he was!—saying things he didn't need to say. Mrs. Hale tried to catch her husband's eye, but fortunately the county attorney interrupted with: "Let's talk about that a little later, Mr. Hale. I do want to talk about that, but I'm anxious now to get along to just what happened when you got here." When he began this time, it was very deliberately and carefully: "I didn't see or hear anything. I knocked at the door. And still it was all quiet inside. I knew they must be up—it was past eight o'clock. So I knocked again, louder, and I thought I heard somebody say, 'Come in.' I wasn't sure—I'm not sure yet. But I opened the door—this door," jerking a hand toward the door by which the two women stood, "and there, in that rocker"—pointing to it—"sat Mrs. Wright." Every one in the kitchen looked at the rocker. It came into Mrs. Hale's mind that that rocker didn't look in the least like Minnie Foster—the Minnie Foster of twenty years before. It was a dingy red, with wooden rungs up the back, and the middle rung was gone, and the chair sagged to one side. "How did she—look?" the county attorney was inquiring. "Well," said Hale, "she looked—queer." "How do you mean—queer?" As he asked it he took out a note-book and pencil. Mrs. Hale did not like the sight of that pencil. She kept her eye fixed on her husband, as if to keep him from saying unnecessary things that would go into that note-book and make trouble. Hale did speak guardedly, as if the pencil had affected him too. "Well, as if she didn't know what she was going to do next. And kind of—done up." "How did she seem to feel about your coming?" "Why, I don't think she minded—one way or other. She didn't pay much attention. I said, 'Ho' do, Mrs. Wright? It's cold, ain't it?' And she said, 'Is it?'—and went on pleatin' at her apron. "Well, I was surprised. She didn't ask me to come up to the stove, or to sit down, but just set there, not even lookin' at me. And so I said: 'I want to see John.' "And then she—laughed. I guess you would call it a laugh. "I thought of Harry and the team outside, so I said, a little sharp, 'Can I see John?' 'No,' says she—kind of dull like. 'Ain't he home?' says I. Then she looked at me. 'Yes,' says she, 'he's home.' 'Then why can't I see him?' I asked her, out of patience with her now. ''Cause he's dead,' says she, just as quiet and dull—and fell to pleatin' her apron. 'Dead?' says I, like you do when you can't take in what you've heard. "She just nodded her head, not getting a bit excited, but rockin' back and forth. "'Why—where is he?' says I, not knowing what to say. "She just pointed upstairs—like this"—pointing to the room above. "I got up, with the idea of going up there myself. By this time I—didn't know what to do. I walked from there to here; then I says: 'Why, what did he die of?' "'He died of a rope round his neck,' says she; and just went on pleatin' at her apron." Hale stopped speaking, and stood staring at the rocker, as if he were still seeing the woman who had sat there the morning before. Nobody spoke; it was as if every one were seeing the woman who had sat there the morning before. "And what did you do then?" the county attorney at last broke the silence. "I went out and called Harry. I thought I might—need help. I got Harry in, and we went upstairs." His voice fell almost to a whisper. "There he was—lying over the—" "I think I'd rather have you go into that upstairs," the county attorney interrupted, "where you can point it all out. Just go on now with the rest of the story." "Well, my first thought was to get that rope off. It looked—" He stopped, his face twitching. "But Harry, he went up to him, and he said, 'No, he's dead all right, and we'd better not touch anything.' So we went downstairs. "She was still sitting that same way. 'Has anybody been notified?' I asked. 'No,' says she, unconcerned. "'Who did this, Mrs. Wright?' said Harry. He said it businesslike, and she stopped pleatin' at her apron. 'I don't know,' she says. 'You don't know?' says Harry. 'Weren't you sleepin' in the bed with him?' 'Yes,' says she, 'but I was on the inside.' 'Somebody slipped a rope round his neck and strangled him, and you didn't wake up?' says Harry. 'I didn't wake up,' she said after him. "We may have looked as if we didn't see how that could be, for after a minute she said, 'I sleep sound.' "Harry was going to ask her more questions, but I said maybe that weren't our business; maybe we ought to let her tell her story first to the coroner or the sheriff. So Harry went fast as he could over to High Road—the Rivers' place, where there's a telephone." "And what did she do when she knew you had gone for the coroner?" The attorney got his pencil in his hand all ready for writing. "She moved from that chair to this one over here"—Hale pointed to a small chair in the corner—"and just sat there with her hands held together and looking down. I got a feeling that I ought to make some conversation, so I said I had come in to see if John wanted to put in a telephone; and at that she started to laugh, and then she stopped and looked at me—scared." At sound of a moving pencil the man who was telling the story looked up. "I dunno—maybe it wasn't scared," he hastened; "I wouldn't like to say it was. Soon Harry got back, and then Dr. Lloyd came, and you, Mr. Peters, and so I guess that's all I know that you don't." He said that last with relief, and moved a little, as if relaxing. Every one moved a little. The county attorney walked toward the stair door. "I guess we'll go upstairs first—then out to the barn and around there." He paused and looked around the kitchen. "You're convinced there was nothing important here?" he asked the sheriff. "Nothing that would—point to any motive?" The sheriff too looked all around, as if to re-convince himself. "Nothing here but kitchen things," he said, with a little laugh for the insignificance of kitchen things. The county attorney was looking at the cupboard—a peculiar, ungainly structure, half closet and half cupboard, the upper part of it being built in the wall, and the lower part just the old-fashioned kitchen cupboard. As if its queerness attracted him, he got a chair and opened the upper part and looked in. After a moment he drew his hand away sticky. "Here's a nice mess," he said resentfully. The two women had drawn nearer, and now the sheriff's wife spoke. "Oh—her fruit," she said, looking to Mrs. Hale for sympathetic understanding. She turned back to the county attorney and explained: "She worried about that when it turned so cold last night. She said the fire would go out and her jars might burst." Mrs. Peters' husband broke into a laugh. "Well, can you beat the women! Held for murder and worrying about her preserves!" The young attorney set his lips. "I guess before we're through with her she may have something more serious than preserves to worry about." "Oh, well," said Mrs. Hale's husband, with good-natured superiority, "women are used to worrying over trifles." The two women moved a little closer together. Neither of them spoke. The county attorney seemed suddenly to remember his manners—and think of his future. "And yet," said he, with the gallantry of a young politician, "for all their worries, what would we do without the ladies?" The women did not speak, did not unbend. He went to the sink and began washing his hands. He turned to wipe them on the roller towel—whirled it for a cleaner place. "Dirty towels! Not much of a housekeeper, would you say, ladies?" He kicked his foot against some dirty pans under the sink. "There's a great deal of work to be done on a farm," said Mrs. Hale stiffly. "To be sure. And yet"—with a little bow to her—"I know there are some Dickson County farm-houses that do not have such roller towels." He gave it a pull to expose its full length again. "Those towels get dirty awful quick. Men's hands aren't always as clean as they might be." "Ah, loyal to your sex, I see," he laughed. He stopped and gave her a keen look. "But you and Mrs. Wright were neighbors. I suppose you were friends, too." Martha Hale shook her head. "I've seen little enough of her of late years. I've not been in this house—it's more than a year." "And why was that? You didn't like her?" "I liked her well enough," she replied with spirit. "Farmers' wives have their hands full, Mr. Henderson. And then—" She looked around the kitchen. "Yes?" he encouraged. "It never seemed a very cheerful place," said she, more to herself than to him. "No," he agreed; "I don't think any one would call it cheerful. I shouldn't say she had the home-making instinct." "Well, I don't know as Wright had, either," she muttered. "You mean they didn't get on very well?" he was quick to ask. "No; I don't mean anything," she answered, with decision. As she turned a little away from him, she added: "But I don't think a place would be any the cheerfuler for John Wright's bein' in it." "I'd like to talk to you about that a little later, Mrs. Hale," he said. "I'm anxious to get the lay of things upstairs now." He moved toward the stair door, followed by the two men. "I suppose anything Mrs. Peters does'll be all right?" the sheriff inquired. "She was to take in some clothes for her, you know—and a few little things. We left in such a hurry yesterday." The county attorney looked at the two women whom they were leaving alone there among the kitchen things. "Yes—Mrs. Peters," he said, his glance resting on the woman who was not Mrs. Peters, the big farmer woman who stood behind the sheriff's wife. "Of course Mrs. Peters is one of us," he said, in a manner of entrusting responsibility. "And keep your eye out Mrs. Peters, for anything that might be of use. No telling; you women might come upon a clue to the motive—and that's the thing we need." Mr. Hale rubbed his face after the fashion of a show man getting ready for a pleasantry. "But would the women know a clue if they did come upon it?" he said; and, having delivered himself of this, he followed the others through the stair door. The women stood motionless and silent, listening to the footsteps, first upon the stairs, then in the room above them. Then, as if releasing herself from something strange, Mrs. Hale began to arrange the dirty pans under the sink, which the county attorney's disdainful push of the foot had deranged. "I'd hate to have men comin' into my kitchen," she said testily—"snoopin' round and criticizin'." "Of course it's no more than their duty," said the sheriff's wife, in her manner of timid acquiescence. "Duty's all right," replied Mrs. Hale bluffly; "but I guess that deputy sheriff that come out to make the fire might have got a little of this on." She gave the roller towel a pull. "Wish I'd thought of that sooner! Seems mean to talk about her for not having things slicked up, when she had to come away in such a hurry." She looked around the kitchen. Certainly it was not "slicked up." Her eye was held by a bucket of sugar on a low shelf. The cover was off the wooden bucket, and beside it was a paper bag—half full. Mrs. Hale moved toward it. "She was putting this in there," she said to herself—slowly. She thought of the flour in her kitchen at home—half sifted, half not sifted. She had been interrupted, and had left things half done. What had interrupted Minnie Foster? Why had that work been left half done? She made a move as if to finish it,—unfinished things always bothered her,—and then she glanced around and saw that Mrs. Peters was watching her—and she didn't want Mrs. Peters to get that feeling she had got of work begun and then—for some reason—not finished. "It's a shame about her fruit," she said, and walked toward the cupboard that the county attorney had opened, and got on the chair, murmuring: "I wonder if it's all gone." It was a sorry enough looking sight, but "Here's one that's all right," she said at last. She held it toward the light. "This is cherries, too." She looked again. "I declare I believe that's the only one." With a sigh, she got down from the chair, went to the sink, and wiped off the bottle. "She'll feel awful bad, after all her hard work in the hot weather. I remember the afternoon I put up my cherries last summer." She set the bottle on the table, and, with another sigh, started to sit down in the rocker. But she did not sit down. Something kept her from sitting down in that chair. She straightened—stepped back, and, half turned away, stood looking at it, seeing the woman who had sat there "pleatin' at her apron." The thin voice of the sheriff's wife broke in upon her: "I must be getting those things from the front room closet." She opened the door into the other room, started in, stepped back. "You coming with me, Mrs. Hale?" she asked nervously. "You—you could help me get them." They were soon back—the stark coldness of that shut-up room was not a thing to linger in. "My!" said Mrs. Peters, dropping the things on the table and hurrying to the stove. Mrs. Hale stood examining the clothes the woman who was being detained in town had said she wanted. "Wright was close!" she exclaimed, holding up a shabby black skirt that bore the marks of much making over. "I think maybe that's why she kept so much to herself. I s'pose she felt she couldn't do her part; and then, you don't enjoy things when you feel shabby. She used to wear pretty clothes and be lively—when she was Minnie Foster, one of the town girls, singing in the choir. But that—oh, that was twenty years ago." With a carefulness in which there was something tender, she folded the shabby clothes and piled them at one corner of the table. She looked up at Mrs. Peters and there was something in the other woman's look that irritated her. "She don't care," she said to herself. "Much difference it makes to her whether Minnie Foster had pretty clothes when she was a girl." Then she looked again, and she wasn't so sure; in fact, she hadn't at any time been perfectly sure about Mrs. Peters. She had that shrinking manner, and yet her eyes looked as if they could see a long way into things. "This all you was to take in?" asked Mrs. Hale. "No," said the sheriff's wife; "she said she wanted an apron. Funny thing to want," she ventured in her nervous little way, "for there's not much to get you dirty in jail, goodness knows. But I suppose just to make her feel more natural. If you're used to wearing an apron—. She said they were in the bottom drawer of this cupboard. Yes—here they are. And then her little shawl that always hung on the stair door." She took the small gray shawl from behind the door leading upstairs, and stood a minute looking at it. Suddenly Mrs. Hale took a quick step toward the other woman. "Mrs. Peters!" "Yes, Mrs. Hale?" "Do you think she—did it?" A frightened look blurred the other thing in Mrs. Peters' eyes. "Oh, I don't know," she said, in a voice that seemed to shrink away from the subject. "Well, I don't think she did," affirmed Mrs. Hale stoutly. "Asking for an apron, and her little shawl. Worryin' about her fruit." "Mr. Peters says—." Footsteps were heard in the room above; she stopped, looked up, then went on in a lowered voice: "Mr. Peters says—it looks bad for her. Mr. Henderson is awful sarcastic in a speech, and he's going to make fun of her saying she didn't—wake up." For a moment Mrs. Hale had no answer. Then, "Well, I guess John Wright didn't wake up—when they was slippin' that rope under his neck," she muttered. "No, it's strange," breathed Mrs. Peters. "They think it was such a—funny way to kill a man." She began to laugh; at sound of the laugh, abruptly stopped. "That's just what Mr. Hale said," said Mrs. Hale, in a resolutely natural voice. "There was a gun in the house. He says that's what he can't understand." "Mr. Henderson said, coming out, that what was needed for the case was a motive. Something to show anger—or sudden feeling." "Well, I don't see any signs of anger around here," said Mrs. Hale. "I don't—" She stopped. It was as if her mind tripped on something. Her eye was caught by a dish-towel in the middle of the kitchen table. Slowly she moved toward the table. One half of it was wiped clean, the other half messy. Her eyes made a slow, almost unwilling turn to the bucket of sugar and the half empty bag beside it. Things begun—and not finished. After a moment she stepped back, and said, in that manner of releasing herself: "Wonder how they're finding things upstairs? I hope she had it a little more red up up there. You know,"—she paused, and feeling gathered,—"it seems kind of sneaking: locking her up in town and coming out here to get her own house to turn against her!" "But, Mrs. Hale," said the sheriff's wife, "the law is the law." "I s'pose 'tis," answered Mrs. Hale shortly. She turned to the stove, saying something about that fire not being much to brag of. She worked with it a minute, and when she straightened up she said aggressively: "The law is the law—and a bad stove is a bad stove. How'd you like to cook on this?"—pointing with the poker to the broken lining. She opened the oven door and started to express her opinion of the oven; but she was swept into her own thoughts, thinking of what it would mean, year after year, to have that stove to wrestle with. The thought of Minnie Foster trying to bake in that oven—and the thought of her never going over to see Minnie Foster—. She was startled by hearing Mrs. Peters say: "A person gets discouraged—and loses heart." The sheriff's wife had looked from the stove to the sink—to the pail of water which had been carried in from outside. The two women stood there silent, above them the footsteps of the men who were looking for evidence against the woman who had worked in that kitchen. That look of seeing into things, of seeing through a thing to something else, was in the eyes of the sheriff's wife now. When Mrs. Hale next spoke to her, it was gently: "Better loosen up your things, Mrs. Peters. We'll not feel them when we go out." Mrs. Peters went to the back of the room to hang up the fur tippet she was wearing. A moment later she exclaimed, "Why, she was piecing a quilt," and held up a large sewing basket piled high with quilt pieces. Mrs. Hale spread some of the blocks out on the table. "It's log-cabin pattern," she said, putting several of them together. "Pretty, isn't it?" They were so engaged with the quilt that they did not hear the footsteps on the stairs. Just as the stair door opened Mrs. Hale was saying: "Do you suppose she was going to quilt it or just knot it?" The sheriff threw up his hands. "They wonder whether she was going to quilt it or just knot it!" There was a laugh for the ways of women, a warming of hands over the stove, and then the county attorney said briskly: "Well, let's go right out to the barn and get that cleared up." "I don't see as there's anything so strange," Mrs. Hale said resentfully, after the outside door had closed on the three men—"our taking up our time with little things while we're waiting for them to get the evidence. I don't see as it's anything to laugh about." "Of course they've got awful important things on their minds," said the sheriff's wife apologetically. They returned to an inspection of the block for the quilt. Mrs. Hale was looking at the fine, even sewing, and preoccupied with thoughts of the woman who had done that sewing, when she heard the sheriff's wife say, in a queer tone: "Why, look at this one." She turned to take the block held out to her. "The sewing," said Mrs. Peters, in a troubled way. "All the rest of them have been so nice and even—but—this one. Why, it looks as if she didn't know what she was about!" Their eyes met—something flashed to life, passed between them; then, as if with an effort, they seemed to pull away from each other. A moment Mrs. Hale sat her hands folded over that sewing which was so unlike all the rest of the sewing. Then she had pulled a knot and drawn the threads. "Oh, what are you doing, Mrs. Hale?" asked the sheriff's wife, startled. "Just pulling out a stitch or two that's not sewed very good," said Mrs. Hale mildly. "I don't think we ought to touch things," Mrs. Peters said, a little helplessly. "I'll just finish up this end," answered Mrs. Hale, still in that mild, matter-of-fact fashion. She threaded a needle and started to replace bad sewing with good. For a little while she sewed in silence. Then, in that thin, timid voice, she heard: "Mrs. Hale!" "Yes, Mrs. Peters?" "What do you suppose she was so—nervous about?" "Oh, I don't know," said Mrs. Hale, as if dismissing a thing not important enough to spend much time on. "I don't know as she was—nervous. I sew awful queer sometimes when I'm just tired." She cut a thread, and out of the corner of her eye looked up at Mrs. Peters. The small, lean face of the sheriff's wife seemed to have tightened up. Her eyes had that look of peering into something. But next moment she moved, and said in her thin, indecisive way: "Well, I must get those clothes wrapped. They may be through sooner than we think. I wonder where I could find a piece of paper—and string." "In that cupboard, maybe," suggested Mrs. Hale, after a glance around. One piece of the crazy sewing remained unripped. Mrs. Peters' back turned, Martha Hale now scrutinized that piece, compared it with the dainty, accurate sewing of the other blocks. The difference was startling. Holding this block made her feel queer, as if the distracted thoughts of the woman who had perhaps turned to it to try and quiet herself were communicating themselves to her. Mrs. Peters' voice roused her. "Here's a bird-cage," she said. "Did she have a bird, Mrs. Hale?" "Why, I don't know whether she did or not." She turned to look at the cage Mrs. Peter was holding up. "I've not been here in so long." She sighed. "There was a man round last year selling canaries cheap—but I don't know as she took one. Maybe she did. She used to sing real pretty herself." Mrs. Peters looked around the kitchen. "Seems kind of funny to think of a bird here." She half laughed—an attempt to put up a barrier. "But she must have had one—or why would she have a cage? I wonder what happened to it." "I suppose maybe the cat got it," suggested Mrs. Hale, resuming her sewing. "No; she didn't have a cat. She's got that feeling some people have about cats—being afraid of them. When they brought her to our house yesterday, my cat got in the room, and she was real upset and asked me to take it out." "My sister Bessie was like that," laughed Mrs. Hale. The sheriff's wife did not reply. The silence made Mrs. Hale turn round. Mrs. Peters was examining the bird-cage. "Look at this door," she said slowly. "It's broke. One hinge has been pulled apart." Mrs. Hale came nearer. "Looks as if some one must have been—rough with it." Again their eyes met—startled, questioning, apprehensive. For a moment neither spoke nor stirred. Then Mrs. Hale, turning away, said brusquely: "If they're going to find any evidence, I wish they'd be about it. I don't like this place." "But I'm awful glad you came with me, Mrs. Hale," Mrs. Peters put the bird-cage on the table and sat down. "It would be lonesome for me—sitting here alone." "Yes, it would, wouldn't it?" agreed Mrs. Hale, a certain determined naturalness in her voice. She had picked up the sewing, but now it dropped in her lap, and she murmured in a different voice: "But I tell you what I do wish, Mrs. Peters. I wish I had come over sometimes when she was here. I wish—I had." "But of course you were awful busy, Mrs. Hale. Your house—and your children." "I could've come," retorted Mrs. Hale shortly. "I stayed away because it weren't cheerful—and that's why I ought to have come. I"—she looked around—"I've never liked this place. Maybe because it's down in a hollow and you don't see the road. I don't know what it is, but it's a lonesome place, and always was. I wish I had come over to see Minnie Foster sometimes. I can see now—" She did not put it into words. "Well, you mustn't reproach yourself," counseled Mrs. Peters. "Somehow, we just don't see how it is with other folks till—something comes up." "Not having children makes less work," mused Mrs. Hale, after a silence, "but it makes a quiet house—and Wright out to work all day—and no company when he did come in. Did you know John Wright, Mrs. Peters?" "Not to know him. I've seen him in town. They say he was a good man." "Yes—good," conceded John Wright's neighbor grimly. "He didn't drink, and kept his word as well as most, I guess, and paid his debts. But he was a hard man, Mrs. Peters. Just to pass the time of day with him—." She stopped, shivered a little. "Like a raw wind that gets to the bone." Her eye fell upon the cage on the table before her, and she added, almost bitterly: "I should think she would've wanted a bird!" Suddenly she leaned forward, looking intently at the cage. "But what do you s'pose went wrong with it?" "I don't know," returned Mrs. Peters; "unless it got sick and died." But after she said it she reached over and swung the broken door. Both women watched it as if somehow held by it. "You didn't know—her?" Mrs. Hale asked, a gentler note in her voice. "Not till they brought her yesterday," said the sheriff's wife. "She—come to think of it, she was kind of like a bird herself. Real sweet and pretty, but kind of timid and—fluttery. How—she—did—change." That held her for a long time. Finally, as if struck with a happy thought and relieved to get back to every-day things, she exclaimed: "Tell you what, Mrs. Peters, why don't you take the quilt in with you? It might take up her mind." "Why, I think that's a real nice idea, Mrs. Hale," agreed the sheriff's wife, as if she too were glad to come into the atmosphere of a simple kindness. "There couldn't possibly be any objection to that, could there? Now, just what will I take? I wonder if her patches are in here—and her things." They turned to the sewing basket. "Here's some red," said Mrs. Hale, bringing out a roll of cloth. Underneath that was a box. "Here, maybe her scissors are in here—and her things." She held it up. "What a pretty box! I'll warrant that was something she had a long time ago—when she was a girl." She held it in her hand a moment; then, with a little sigh, opened it. Instantly her hand went to her nose. "Why—!" Mrs. Peters drew nearer—then turned away. "There's something wrapped up in this piece of silk," faltered Mrs. Hale. "This isn't her scissors," said Mrs. Peters, in a shrinking voice. Her hand not steady, Mrs. Hale raised the piece of silk. "Oh, Mrs. Peters!" she cried. "It's—" Mrs. Peters bent closer. "It's the bird," she whispered. "But, Mrs. Peters!" cried Mrs. Hale. "Look at it! Its neck—look at its neck! It's all—other side to." She held the box away from her. The sheriff's wife again bent closer. "Somebody wrung its neck," said she, in a voice that was slow and deep. And then again the eyes of the two women met—this time clung together in a look of dawning comprehension, of growing horror. Mrs. Peters looked from the dead bird to the broken door of the cage. Again their eyes met. And just then there was a sound at the outside door. Mrs. Hale slipped the box under the quilt pieces in the basket, and sank into the chair before it. Mrs. Peters stood holding to the table. The county attorney and the sheriff came in from outside. "Well, ladies," said the county attorney, as one turning from serious things to little pleasantries, "have you decided whether she was going to quilt it or knot it?" "We think," began the sheriff's wife in a flurried voice, "that she was going to—knot it." He was too preoccupied to notice the change that came in her voice on that last. "Well, that's very interesting, I'm sure," he said tolerantly. He caught sight of the bird-cage. "Has the bird flown?" "We think the cat got it," said Mrs. Hale in a voice curiously even. He was walking up and down, as if thinking something out. "Is there a cat?" he asked absently. Mrs. Hale shot a look up at the sheriff's wife. "Well, not now," said Mrs. Peters. "They're superstitious, you know; they leave." She sank into her chair. The county attorney did not heed her. "No sign at all of any one having come in from the outside," he said to Peters, in the manner of continuing an interrupted conversation. "Their own rope. Now let's go upstairs again and go over it, piece by piece. It would have to have been some one who knew just the—" The stair door closed behind them and their voices were lost. The two women sat motionless, not looking at each other, but as if peering into something and at the same time holding back. When they spoke now it was as if they were afraid of what they were saying, but as if they could not help saying it. "She liked the bird," said Martha Hale, low and slowly. "She was going to bury it in that pretty box." "When I was a girl," said Mrs. Peters, under her breath, "my kitten—there was a boy took a hatchet, and before my eyes—before I could get there—" She covered her face an instant. "If they hadn't held me back I would have"—she caught herself, looked upstairs where footsteps were heard, and finished weakly—"hurt him." Then they sat without speaking or moving. "I wonder how it would seem," Mrs. Hale at last began, as if feeling her way over strange ground—"never to have had any children around?" Her eyes made a slow sweep of the kitchen, as if seeing what that kitchen had meant through all the years. "No, Wright wouldn't like the bird," she said after that—"a thing that sang. She used to sing. He killed that too." Her voice tightened. Mrs. Peters moved uneasily. "Of course we don't know who killed the bird." "I knew John Wright," was Mrs. Hale's answer. "It was an awful thing was done in this house that night, Mrs. Hale," said the sheriff's wife. "Killing a man while he slept—slipping a thing round his neck that choked the life out of him." Mrs. Hale's hand went out to the bird-cage. "His neck. Choked the life out of him." "We don't know who killed him," whispered Mrs. Peters wildly. "We don't know." Mrs. Hale had not moved. "If there had been years and years of—nothing, then a bird to sing to you, it would be awful—still—after the bird was still." It was as if something within her not herself had spoken, and it found in Mrs. Peters something she did not know as herself. "I know what stillness is," she said, in a queer, monotonous voice. "When we homesteaded in Dakota, and my first baby died—after he was two years old—and me with no other then—" Mrs. Hale stirred. "How soon do you suppose they'll be through looking for the evidence?" "I know what stillness is," repeated Mrs. Peters, in just that same way. Then she too pulled back. "The law has got to punish crime, Mrs. Hale," she said in her tight little way. "I wish you'd seen Minnie Foster," was the answer, "when she wore a white dress with blue ribbons, and stood up there in the choir and sang." The picture of that girl, the fact that she had lived neighbor to that girl for twenty years, and had let her die for lack of life, was suddenly more than she could bear. "Oh, I wish I'd come over here once in a while!" she cried. "That was a crime! That was a crime! Who's going to punish that?" "We mustn't take on," said Mrs. Peters, with a frightened look toward the stairs. "I might 'a' known she needed help! I tell you, it's queer, Mrs. Peters. We live close together, and we live far apart. We all go through the same things—it's all just a different kind of the same thing! If it weren't—why do you and I understand? Why do we know—what we know this minute?" She dashed her hand across her eyes. Then, seeing the jar of fruit on the table, she reached for it and choked out: "If I was you I wouldn't tell her her fruit was gone! Tell her it ain't. Tell her it's all right—all of it. Here—take this in to prove it to her! She—she may never know whether it was broke or not." She turned away. Mrs. Peters reached out for the bottle of fruit as if she were glad to take it—as if touching a familiar thing, having something to do, could keep her from something else. She got up, looked about for something to wrap the fruit in, took a petticoat from the pile of clothes she had brought from the front room, and nervously started winding that round the bottle. "My!" she began, in a high, false voice, "it's a good thing the men couldn't hear us! Getting all stirred up over a little thing like a—dead canary." She hurried over that. "As if that could have anything to do with—with—My, wouldn't they laugh?" Footsteps were heard on the stairs. "Maybe they would," muttered Mrs. Hale—"maybe they wouldn't." "No, Peters," said the county attorney incisively; "it's all perfectly clear, except the reason for doing it. But you know juries when it comes to women. If there was some definite thing—something to show. Something to make a story about. A thing that would connect up with this clumsy way of doing it." In a covert way Mrs. Hale looked at Mrs. Peters. Mrs. Peters was looking at her. Quickly they looked away from each other. The outer door opened and Mr. Hale came in. "I've got the team round now," he said. "Pretty cold out there." "I'm going to stay here awhile by myself," the county attorney suddenly announced. "You can send Frank out for me, can't you?" he asked the sheriff. "I want to go over everything. I'm not satisfied we can't do better." Again, for one brief moment, the two women's eyes found one another. The sheriff came up to the table. "Did you want to see what Mrs. Peters was going to take in?" The county attorney picked up the apron. He laughed. "Oh, I guess they're not very dangerous things the ladies have picked out." Mrs. Hale's hand was on the sewing basket in which the box was concealed. She felt that she ought to take her hand off the basket. She did not seem able to. He picked up one of the quilt blocks which she had piled on to cover the box. Her eyes felt like fire. She had a feeling that if he took up the basket she would snatch it from him. But he did not take it up. With another little laugh, he turned away, saying: "No; Mrs. Peters doesn't need supervising. For that matter, a sheriff's wife is married to the law. Ever think of it that way, Mrs. Peters?" Mrs. Peters was standing beside the table. Mrs. Hale shot a look up at her; but she could not see her face. Mrs. Peters had turned away. When she spoke, her voice was muffled. "Not—just that way," she said. "Married to the law!" chuckled Mrs. Peters' husband. He moved toward the door into the front room, and said to the county attorney: "I just want you to come in here a minute, George. We ought to take a look at these windows." "Oh—windows," said the county attorney scoffingly. "We'll be right out, Mr. Hale," said the sheriff to the farmer, who was still waiting by the door. Hale went to look after the horses. The sheriff followed the county attorney into the other room. Again—for one final moment—the two women were alone in that kitchen. Martha Hale sprang up, her hands tight together, looking at that other woman, with whom it rested. At first she could not see her eyes, for the sheriff's wife had not turned back since she turned away at that suggestion of being married to the law. But now Mrs. Hale made her turn back. Her eyes made her turn back. Slowly, unwillingly, Mrs. Peters turned her head until her eyes met the eyes of the other woman. There was a moment when they held each other in a steady, burning look in which there was no evasion nor flinching. Then Martha Hale's eyes pointed the way to the basket in which was hidden the thing that would make certain the conviction of the other woman—that woman who was not there and yet who had been there with them all through that hour. For a moment Mrs. Peters did not move. And then she did it. With a rush forward, she threw back the quilt pieces, got the box, tried to put it in her handbag. It was too big. Desperately she opened it, started to take the bird out. But there she broke—she could not touch the bird. She stood there helpless, foolish. There was the sound of a knob turning in the inner door. Martha Hale snatched the box from the sheriff's wife, and got it in the pocket of her big coat just as the sheriff and the county attorney came back into the kitchen. "Well, Henry," said the county attorney facetiously, "at least we found out that she was not going to quilt it. She was going to—what is it you call it, ladies?" Mrs. Hale's hand was against the pocket of her coat. "We call it—knot it, Mr. Henderson."
Guests: Student Amanda Grissom '19, director of two one-act plays by Susan Glaspell that will be performed Oct. 5-8 at the Fusion Theatre; men's soccer coach Kooten Johnson previews Saturday's match against rival Knox (Ill.) College; and Educational Studies professors Michelle Holschuh Simmons and Tammy LaPrad preview an Oct. 4 forum that will discuss the future of public education.
An interdisciplinary discussion of Kirsten Shepherd-Barr's book Kirsten Shepherd-Barr (Associate Professor of Modern Drama, University of Oxford) discusses her book Theatre and Evolution from Ibsen to Beckett with Michael Billington (Theatre Critic, The Guardian), Morten Kringlebach (Associate Professor and Senior Research Fellow, Department of Psychiatry, University of Oxford) and Laura Marcus (Goldsmiths' Professor of English Literature). About the book: Evolutionary theory made its stage debut as early as the 1840s, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and American plays, as well as in circus, vaudeville, pantomime, and "missing link" performances, Theatre and Evolution from Ibsen to Beckett reveals the deep, transformative entanglement among science, art, and culture in modern times. The stage proved to be no mere handmaiden to evolutionary science, though, often resisting and altering the ideas at its core. Many dramatists cast suspicion on the arguments of evolutionary theory and rejected its claims, even as they entertained its thrilling possibilities. Engaging directly with the relation of science and culture, this book considers the influence of not only Darwin but also Lamarck, Chambers, Spencer, Wallace, Haeckel, de Vries, and other evolutionists on 150 years of theater. It shares significant new insights into the work of Ibsen, Shaw, Wilder, and Beckett, and writes female playwrights, such as Susan Glaspell and Elizabeth Baker, into the theatrical record, unpacking their dramatic explorations of biological determinism, gender essentialism, the maternal instinct, and the "cult of motherhood." It is likely that more people encountered evolution at the theater than through any other art form in the late nineteenth and early twentieth centuries. Considering the liveliness and immediacy of the theater and its reliance on a diverse community of spectators and the power that entails, this book is a key text for grasping the extent of the public's adaptation to the new theory and the legacy of its representation on the perceived legitimacy (or illegitimacy) of scientific work.
"A Jury of Her Peers" by Susan Glaspell and "Without Ceremony" by Thomas Hardy
This is not an official 19 Nocturne thing. This is not an opinion of any sort. This is a story by Susan Glaspell, published in 1912 (Librivox recording) called HOW THE PRINCE SAW AMERICA This is my fervent wish for our country (the sentiment, not the chauvinism of the day - just go with it). The cleanup of Sandy made me think of this.
[from a story and play by Susan Glaspell, published in 1917] A woman stands accused of murdering her husband and none of the investigators understands why. Music by Keith Billings Cover art composition by Julie Hoverson, Photography by Richard Palmer Thanx to Gutenberg and Librivox for their work with public domian stories, such as this one.
Today's story demonstrates the lengths to which people will go to protect the ones they love. In her stories and plays, Susan Glaspell (1876-1948), bestselling novelist and Pulitzer-prize winning playwright, created many sympathetic characters who make principled stands. And that is why I chose this story for today's narrative; it is about a little boy named Stubby who takes a very principled stand to protect his dog, Hero.
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