An irreverent and provocative drama questioning the basis of Christianity; by the author of The Romans in Britain. The most famous conversion in history - when Saul became Paul on the road to Damascus - was a trick. It was actually Jesus appearing to him. Jesus did not die on the cross but was rescued and sheltered by his brother James; by Peter and by Peters wife; Mary Magdalene. But they prefer to keep Paul in the dark because; although he is mistakenly preaching that Christ rose again; at least it keeps him busy and gets the Christian message out there... Now imprisoned by Nero; Peter finally tells Paul the truth before they go to their deaths as the first Christian Martyrs. Powerful and thrilling... The beauty; compassion and sense of mystery in Pauls words sends shivers down the spine- Daily Telegraph An exciting play that explores big issues- Guardian
#3411091 in eBooks 2014-10-07 2014-10-07File Name: B00O8QIXEM
Review
5 of 5 people found the following review helpful. Essential Social/Political/Cultural AnalysisBy CanticleFor those interested in contemporary music and the New York avant garde of the early to mid 1960s this is a book that is hard to put down. Each of the first four chapters is devoted respectively to: The New York Philharmonics 1961 performance of John Cages Atlas Eclipticalis; Henry Flynt and his rejection of mainstream avant garde trends (Stockhausen; Boulez; etc.); The (short lived) Jazz Composers Guild; and the performances of cellist Charlotte Moorman. A final chapter is devoted to a summary analysis which further connects these performers and events to the work of the ONCE Festival; Sonic Arts Union and (surprisingly but most appropriately) to the influence of these avant gardists on the subsequent work of Iggy Pop.Nearly every significant figure of the avant garde is mentioned or quoted and the views of the general public as well as more specialized critics (which; of course; includes various members of the avant garde) are included in the course of the discussion and analysis. In addition to John Cage we hear from the likes of Morton Feldman; Christian Wolff; David Tudor. The Henry Flynt chapter necessarily involves various figures associated with the Fluxus movement and related projects. The Jazz Composers Guild chapter includes Bill Dixon; Roswell Rudd; Michael Mantler; Carla Bley; Paul Bley; Amiri Baraka; George Lewis; the AACM. And the chapter on Moorman includes Nam Jun Paik as well as John Cage and various Fluxus artists. The final chapter connects to others not so closely associated with New York such as Robert Ashley; Gordon Mumma; the ONCE Festival; Sonic Arts Union and finally to MC5; John Sinclair and Iggy Pop.While there is some musical analysis here the author seems primarily concerned with analyzing these events and people and placing them more clearly within the political; social and cultural contexts in which they existed and to which they reacted. And indeed he finds highly relevant connections to civil rights issues and political conflicts and social movements as well as musical and performance movements and practices.The analysis in terms of the likes of Pierre Bordieu; Franzt Fanon and Michel Foucault may be a bit difficult for those who have no familiarity with their works but his analysis is fascinating and his writing style is very lucid. This is an intelligent book not aimed at a narrow specialist audience. I believe that he succeeds in producing a fresh; important and valuable perspective on the people; the music; the events and the responses to them which will continue to prove useful in present and future analyses of the state of contemporary music and performance.Finally the book is full of references comprising at least a third of the volume which serve both to support and illustrate Mr. Piekuts theses and also to provide easy access to further reading and research.I highly recommend this to anyone interested in this music or this period of history.
