In this collection, leading scholars in both film studies and Israeli studies show that beyond representing familiar historical accounts or striving to offer a more complete and accurate depiction of the past, Israeli cinema has innovatively used trauma and memory to offer insights about Israeli society and to engage with cinematic experimentation and invention. Tracing a long line of films from the 1940s up to the 2000s, the contributors use close readings of these films not only to reconstruct the past, but also to actively engage with it. Addressing both high-profile and lesser known fiction and non-fiction Israeli films, Deeper than Oblivion underlines the unique aesthetic choices many of these films make in their attempt to confront the difficulties, perhaps even impossibility, of representing trauma. By looking at recent and classic examples of Israeli films that turn to memory and trauma, this book addresses the pressing issues and disputes in the field today.

What does it signify when a Shakespearean character forgets something or when Hamlet determines to 'wipe away all trivial fond records'? How might forgetting be an act to be performed, or be linked to forgiveness, such as when in The Winter's Tale Cleomenes encourages Leontes to 'forget your evil. / With them, forgive yourself'? And what do we as readers and audiences forget of Shakespeare's works and of the performances we watch? This is the first book devoted to a broad consideration of how Shakespeare explores the concept of forgetting and how forgetting functions in performance. A wide-ranging study of how Shakespeare dramatizes forgetting, it offers close readings of Shakespeare's plays, considering what Shakespeare forgot and what we forget about Shakespeare. The book touches on an equally broad range of forgetting theory from antiquity through to the present day, of forgetting in recent novels and films, and of creative ways of making sense of how our world constructs the cultural meaning of and anxiety about forgetting. Drawing on dozens of productions across the history of Shakespeare on stage and film, the book explores Shakespeare's dramaturgy, from characters who forget what they were about to say, to characters who leave the stage never to return, from real forgetting to performed forgetting, from the mad to the powerful, from playgoers to Shakespeare himself.

Magic that shouldn't exist. A secret war. The courage to save an empire. As one of the empire's most skilled soldiers, Brandt is no stranger to combat. After he and his fellow wolfblades fight a merciless warrior armed with unbelievable powers, Brandt is left shattered. Searching for answers, Brandt stumbles upon a secret war, fought by a very few, that threatens the land he calls home. Alena is a gifted student studying for university exams. She moonlights as a thief and spy, searching for a purpose beyond the walls of her small town. When she steals a powerful artifact she becomes the most wanted thief in the empire, sending her fleeing across the continent for safety. Their quest for answers uncovers lies buried for generations. Lies at the heart of their empire. As a mysterious and powerful enemy prepares their assault, Brandt and Alena must race to find the truth and save their home. Before the Gate Beyond Oblivion summons them both. The Oblivion's Gate Trilogy collects for the first time the complete epic fantasy series!

First Lieutenant Shaara was dead this morning. Her captain is furious at her. She wasted company resources getting herself killed, and it’s coming out of her paycheck. Now, she’s sitting across from the first other human being she’s seen in six years. His name is Adnan. He claims to come from Earth—but that’s impossible. Earth died a long time ago. If Adnan’s telling the truth, he and the decaying ship the captain pulled him off are nearly a thousand years old. Wherever he’s from, he’s Shaara’s responsibility now. Which is the last thing she needs. But it’s either that, or the captain sells Adnan into slavery. Shaara knows what that would mean. Most humans do. And something inside her won’t let her abandon Adnan to it: revenant memories, stabbed awake by the look in his eyes. Facing those memories won’t be easy. It’d be far easier to ignore the feeling driving her forward. Far easier to let it all go to hell, and drift back to sleep. Until a shadowy new faction starts stoking the fires of war. They’re looking for Adnan; Earth’s last survivor holds the key to unleash a terrible, indiscriminate vengeance on the galaxy that wronged them. Who they are is a mystery—to everyone but Shaara. Hard as she’s tried to forget, she knows them all too well. Which means she’s the only one who can stop them. The question is: does she want to? Maybe the galaxy’s earned a little vengeance.

Sequel to: The ashes of tomorrow / by James Swallow.

Shaara never asked to be in charge. Since taking command of the mysterious AI warship Warden, and the eccentric mercenary company that calls him home, she’s only accepted jobs that let her conscience sleep at night. The trouble is, those jobs don’t pay too well. After more than a year of fighting for the downtrodden, the exploited, and the oppressed, the Wardens’ coffers are running dry. So when they get a suspicious but lucrative offer from a pariah republic on the fringe of galactic politics, Shaara ignores the warning voice in her head and accepts. Of course, the voice is right—it usually is. The contract takes the Wardens to the edges of explored space; there, in the vast darkness beyond the galactic core, a great and terrible force is gathering—a foe far deadlier than they’ve ever fought. The galaxy’s not ready to face it. Has Shaara saved them all from Gaeus Nemesis just to die another day? What’s more, this new enemy holds the key to another mystery. As they fight for their lives, Shaara and Corax are forced to ask themselves a question they hoped they’d never have to: How much do they really know about Warden? And can they trust him?

First Lieutenant Shaara was dead this morning. Her captain is furious at her. She wasted company resources getting herself killed, and it’s coming out of her paycheck. Now, she’s sitting across from the first other human being she’s seen in six years. His name is Adnan. He claims to come from Earth—but that’s impossible. Earth died a long time ago. If Adnan’s telling the truth, he and the decaying ship the captain pulled him off are nearly a thousand years old. Wherever he’s from, he’s Shaara’s responsibility now. Which is the last thing she needs. But it’s either that, or the captain sells Adnan into slavery. Shaara knows what that would mean. Most humans do. And something inside her won’t let her abandon Adnan to it: revenant memories, stabbed awake by the look in his eyes. Facing those memories won’t be easy. It’d be far easier to ignore the feeling driving her forward. Far easier to let it all go to hell, and drift back to sleep. Until a shadowy new faction starts stoking the fires of war. They’re looking for Adnan; Earth’s last survivor holds the key to unleash a terrible, indiscriminate vengeance on the galaxy that wronged them. Who they are is a mystery—to everyone but Shaara. Hard as she’s tried to forget, she knows them all too well. Which means she’s the only one who can stop them. The question is: does she want to? Maybe the galaxy’s earned a little vengeance. The first book in the trilogy, Oblivion's Cloak, won First Place in the Space Opera category at the 2023 Cygnus Awards!