Told from the split viewpoints of Liv and Jory, Kate A. Boorman's What We Buried is a psychological thrill ride that deftly explores how memories can lie, how time can bend, and how reconciling the truth can be a matter of life or death. “Do you ever just want to be believed?” Siblings Liv and Jory Brewer have grown up resenting each another. Liv—former pageant queen and reality TV star—was groomed for a life in the spotlight, while her older brother, Jory, born with a partial facial paralysis, was left in the shadows. The only thing they have in common is contempt for their parents. Now Liv is suing her mom and dad for emancipation, and Jory views the whole thing as yet another attention-getting spectacle. But on the day of the hearing, their parents mysteriously vanish, and the siblings are forced to work together. Liv feels certain she knows where they are and suspects that Jory knows more than he’s telling...which is true. What starts as a simple overnight road trip soon takes a turn for the dangerous and surreal. And as the duo speeds through the deserts of Nevada, brother and sister will unearth deep family secrets that force them to relive their pasts as they try to retain a grip on the present.

The link between weddings and death—as found in dramas ranging from Romeo and Juliet to Lorca's Blood Wedding—plays a central role in the action of many Greek tragedies. Female characters such as Kassandra, Antigone, and Helen enact and refer to significant parts of wedding and funeral rites, but often in a twisted fashion. Over time the pressure of dramatic events causes the distinctions between weddings and funerals to disappear. In this book, Rush Rehm considers how and why the conflation of the two ceremonies comes to theatrical life in the tragedies of Aeschylus, Sophokles, and Euripides. By focusing on the dramatization of important rituals conducted by women in ancient Athenian society, Rehm offers a new perspective on Greek tragedy and the challenges it posed for its audience. The conflation of weddings and funerals, the author argues, unleashes a kind of dramatic alchemy whereby female characters become the bearers of new possibilities. Such as formulation enables the tragedians to explore the limitations of traditional thinking and acting in fifth-century Athens. Rehm finds that when tragic weddings and funerals become confused and perverted, the aftershocks disturb the political and ideological givens of Athenian society, challenging the audience to consider new, and often radically different, directions for their city. Rush Rehm is Assistant Professor of Drama and Classics at Standford University and a free-lance theater director. He is the author of Greek Tragic Theatre (Routledge) and Aeschylus' Oresteia: A Theatre Vision (Hawthorn). Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.