In "Danger: Memory!" Two contrasting but thematically related one-act plays, I Can't Remember Anything and Clara, are concerned with remembrance. The first play portrays the shared and disputed recollections of two elderly friends, and Clara dramatizes the resistance to brutal present-day fact when a young woman's father speaks with a detective investigating her murder. Like all of Miller's plays, Danger: Memory! holds the powerful emotional charge and social perceptions associated with his work while reaching for one of the fundamental issues of mankind, the selective amnesia of the past.

THE STORIES: The first play, I CAN'T REMEMBER ANYTHING, is a gentle, poignant study of two old friends, an elderly man and woman, who live in nearby houses and often take their meals together. She is a wealthy widow whose life seems to have come to a stop

Memories change over time because they are constantly being reconstructed. This can also result in memories of experiences that never existed. The way the brain works does not differentiate between real and imagined content. Pseudo-memories arise particularly easily in psychotherapy through suggestive speculation about traumas suffered, such as sexual abuse. Those undergoing therapy are firmly convinced of the reality of these false memories. They suffer just as much as those who were really abused. They blame innocent people. Families are destroyed, livelihoods are threatened and there are only losers. It gets particularly bad when conspiracy theories of ritual abuse and victim programming are involved.

Genocide and Mass Violence brings together a unique mix of anthropologists, psychiatrists, psychologists and historians to examine the effects of mass trauma.

#1 NATIONAL BESTSELLER * WINNER OF THE 2022 TORONTO BOOK AWARDS * A New York Times Book Review Editors' Choice * Named a Most-Anticipated Book of 2022 by Entertainment Weekly, Lit Hub, and AV Club * “A visceral and incisive collection of six propulsive personal essays.” —Vanity Fair “[A] roving, psychologically probing memoir in essays . . . On the page, Polley turns out to be as brave, funny, and unself-serious as she is on the screen.” —The New Yorker From the Academy Award-nominated director of Women Talking, Run Towards the Danger explores memory and the dialogue between her past and her present. These are the most dangerous stories of my life. The ones I have avoided, the ones I haven’t told, the ones that have kept me awake on countless nights. As these stories found echoes in my adult life, and then went another, better way than they did in childhood, they became lighter and easier to carry. Sarah Polley’s work as an actor, screenwriter, and director is celebrated for its honesty, complexity, and deep humanity. She brings all of those qualities along with her exquisite storytelling chops to these six essays. Each one captures a piece of Polley’s life as she remembers it, while at the same time examining the fallibility of memory, the mutability of reality in the mind, and the possibility of experiencing the past anew, as the person you are now but were not then. As Polley writes, the past and present are in a “reciprocal pressure dance.” Polley contemplates stories from her own life ranging from stage fright to high risk childbirth to endangerment and more. After struggling with the aftermath of a concussion, Polley met a specialist who gave her wholly new advice: to recover from a traumatic injury, she had to retrain her mind to strength by charging towards the very activities that triggered her symptoms. With riveting clarity, she shows the power of applying that same advice to other areas of her life in order to find a path forward, a way through. Rather than live in a protective crouch, she had to run towards the danger. In this extraordinary book, Sarah Polley explores what it is to live in one’s body, in a constant state of becoming, learning, and changing.