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McGuinness's play opts not to examine the characters encountering the larger world of theatre or city though both theatre and city are discussed. Westport, CT: Praeger,3—8. Stage histories of McGuinness's plays suggest that minimal sets often work best.
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Yet, the poetic force of Hemingway does not lie only in these epiphanic truths, but in the relation between the double planes of discourse and enunciation. It will take some time to help overcome the habit; but the juices will work more effectively than every other solution.
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I am grateful to Philip Tilling for identifying the source of the portrait for me. Need to relax? The relatively small cast and largely verbal action in Gates of Gold are inseparable from the play's naturalistic set. The play's urban interior may initially seem less "Irish" than the places and spaces I've noted in other McGuinness plays.
The Short Stories of Ernest Hemingway.