On the Road: (Penguin Orange Collection)

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Draws a clearer parallel with Mr Gray's disconnected TV dialogue and the kids' constant trivia - he is more pitiable in movie, but the "he was there the whole time" detail is not in the book and felt unnecessary

Man’s guilt in history and in the tides of his own blood has been complicated by technology, the daily seeping falsehearted death.’Non mancano avvistamenti bizzarri, UFO, la gente sembra propensa al delirio: cos’altro è, in fondo, quell’andare a vedere il tramonto dal cavalcavia sull’autostrada? Luogo dove si raduna molta gente, anche in sedia a rotelle, grandi e piccini, ad ammirare i colori del sole calante, che “l’evento tossico aereo” - quello che ha riempito la cittadina di gente in tute e caschi dall’aspetto minaccioso sparsi a rilevare perdite e contaminazione, quello che ha portato all’evacuazione di massa prima di riappropriarsi della vita di prima – ha reso acuti e intensificati. Bella rilettura Historically, John Proctor did not immediately intervene on learning of the trials and does not do so in the play. The historical account offers no explanation. In the notebooks Miller searched for one: “Proctor—guilt stays his hand (against what action?).” The guilt derives from his adultery; the action becomes his decision to expose Abigail. Spontaneous applause breaks out as former undefeated Commonwealth & IBO Welterweight World Champion, Jav Khalik, enters the ring. I got the waggle of the finger and the furrowed brow from Bernice. She leaned over and whispered in my ear "you just lost your cloud". Okay all the yelling and the threats had bounced off me like marshmallow bullets, but those five words started the water works, and guilt wrapped in a furry fear blanket was born. So......I finally read this.....enjoyed it. I found myself comparing this book to a new family TV series with Eugene Levy called 'Schitt's Creek'. The most entertaining-FUNNY show, I've seen in years.

Deadly Don (speaking over his shoulder on the way to his corner): Can you hear them now? The networks, the circuits, the streams, the harmonies. The irony lay not only in the fact that in doing so they replicated the processes of the 1692 trials, where the children cried out against Sarah Good, Bridget Bishop, George Jacobs, Martha Bellows, Alice Barrow, but that in Miller’s plays there usually comes a moment when the central character cries out his own name, determined to invest it with meaning and integrity. Almost invariably this moment occurs when he is on the point of betraying himself and others. A climactic scene in The Crucible comes when John Proctor, on the point of trading his integrity for his life, finally refuses to pay the price, which is to offer the names of others to buy his life. “I like not to spoil their names. ... I speak my own sins; I cannot judge another. I have no tongue for it.” He thus recovers his own name by refusing to name others: “... now I do think I see some shred of goodness in John Proctor.” Three years later, Miller himself was called before the Committee. His reply, when asked to betray others, was a virtual paraphrase of the one offered by Proctor. He announced, “I am trying to, and I will, protect my sense of myself. I could not use the name of another person and bring trouble on him.” Asked to comment on this, thirty years later, he replied, “Well, there’s only one thing to say to them. You don’t have much choice.” What happens to Mr. Gray at the end? At one moment he is about to die, then the next it cuts away to an argument about religion.Arthur Miller first encountered the story of Salem and its witches while a student at the University of Michigan. It stayed in his mind, but only as one of those mysterious incidents from a past separated from us by more than time: “It never occurred to me that I would ever deal with it ... because I had never formulated an aesthetic idea of this tragedy.” Then, in 1949, he came upon a new book about the trials, by Marion Starkey, called The Devil in Massachusetts.