Swimming with the sharks
Lisa Mullarkey
When Katharine joins the Stingrays Swim Team she finds herself once again in competition with her schoolmate, Vanessa, who swims for the Sharks.

by David Mamet (1984)
A story for everyone who works for a living. An examination of the machinations behind the scenes at a real estate office.
Lisa Mullarkey
When Katharine joins the Stingrays Swim Team she finds herself once again in competition with her schoolmate, Vanessa, who swims for the Sharks.
story & art by Masami Kurumada
In Siberia, the Swan Knight Hyoga receives orders from Sanctuary in Greece to kill the Knights of the Zodiac who have betrayed their oath not to use their powers for personal gain. After witnessing a match between Pegasus and Dragon at the Galaxian Wars, though, he begins to think that these knights may be fighting for something other than personal gain.
Hugh Grady
The four plays of Shakespeare's Henriad and the slightly later Hamlet brilliantly explore interconnections between political power and interior subjectivity as productions of the newly emerging constellation we call modernity. Hugh Grady argues that for Shakespeare subjectivity was a critical, negative mode of resistance to power--not, as many recent critics have asserted, its abettor. (Amazon).
Stanley Cavell
What is marriage? Can a relationship dedicated to equality, friendship, and mutual education flower in an atmosphere of romance? What are the paths between loving another and knowing another? Stanley Cavell identified a genre of classic American films that engaged these questions in his study of comedies of remarriage, Pursuits of Happiness. With Contesting Tears, Cavell demonstrates that a contrasting genre, which he calls "the melodrama of the unknown woman," shares a surprising number and weave of concerns with those comedies. Cavell provides close readings of four melodramas he finds definitive of the genre: Letter from an Unknown Woman; Gaslight; Now, Voyager; and Stella Dallas. The women in these melodramas, like the women in the comedies, demand equality, shared education, and transfiguration, exemplifying for Cavell a moral perfectionism he identifies as Emersonian. But unlike the comedies, which portray a quest for a shared existence of expressiveness and joy, the melodramas trace instead the woman's recognition that in this quest she is isolated. Part of the melodrama concerns the various ways the men in the films (and the audiences of the films) interpret and desire to force the woman's consequent inaccessibility.