By H. L. Mencken
A call collection of H.L. Mencken's formerly out-of-print writings.
Edited and annotated by way of H.L.M., it is a choice from his out-of-print writings. they arrive ordinarily from books—the six of the PREJUDICES sequence, A booklet OF BURLESQUES, IN safeguard of girls, NOTES ON DEMOCRACY, creating a PRESIDENT, A booklet OF CALUMNY, TREATISE ON correct AND WRONG—but there also are journal and newspaper items that by no means bought among covers (from the yank Mercury, the clever Set, and the Baltimore night solar) and a few notes that have been by no means formerly released at all.
Readers will locate edification and enjoyment in his estimates of various Americans—Woodrow Wilson, Aimee Semple McPherson, Roosevelt I and Roosevelt II, James Gibbons Huneker, Rudolph Valentino, Calvin Coolidge, Ring Lardner, Theodore Dreiser, and Walt Whitman. these musically susceptible will get pleasure from his items on Beethoven, Schubert, and Wagner, and there's fabric for 100 controversies in his choices on Joseph Conrad, Thorstein Veblen, Nietzsche, and Madame Blavatsky.
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Additional info for A Mencken Chrestomathy: His Own Selection of His Choicest Writing
Training, which had began on 15 May at the Drama Studio and at the “Old British Council,” was rigorous, and linked to the Brigade’s policy of retaining existing styles while preparing performers to use scripts written by Morisseau–Leroy. These texts reflected his passionate political commitment and were ‘ghanaianized’ by Bob Johnson and Bob Thompson. It appears that, by August 1962, a fully professional company “run on socialist theory” had been ready to perform. In 1965, Morisseau–Leroy laid out his ambitions for theatre development in an article entitled “The Ghana Theatre Movement” that was published in the first issue of the Ghana Cultural Review.
As far as drama was concerned, there were the pioneering ventures of the Village Theatre Movement in the United Kingdom, and of the way Moral Re-Armament (now “Initiatives of Change”) used productions of plays, such as The Forgotten Factor, The Boss, and Freedom, to stress the importance of individual commitment to an ideal. These influences were all apparent in the ideas about mass education programmes that Dickson developed. He worked on the principle that the goal was to “change the social atmosphere”; in order to do this, he was convinced, people should be equipped with skills.
It has been quoted from with approval, notably by Kofi Agovi in his substantial account of theatre in Ghana (1990). Ikiddeh is called in to support Agovi’s perception of how the British employed the theatre, including the plays of Sophocles and Shakespeare, during the colonial period. This approach, Agovi argues, was part of an “organised policy of N 1 Kobina Sekyi, The Blinkards: a play in four acts (1915; London: Rex Collings, 1974). 94. B. ” 34 Nkyin–Kyin cultural dissemination,” its purpose being to subvert and divert genuine cultural-nationalist movements.