{'fraction_non_alphanumeric': 0.03211216644052465, 'fraction_numerical': 0.0, 'mean_word_length': 5.430232558139535, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Georg Büchner's Woyzeck: A History of Its Criticism by David G. Richards (review)

interrogating "race"? Moreover, although Wertheim does not want to consider except by way of dismissal some of the economically based criticisms of Fugard's engagement with "race," only serious address of these as well as other problema tics will enable understanding of the courage, as well as the measure, of Fugard's achievement in this regard, Again, if this is a book "from South Africa to the world," what significance negative as well as positive do Fugard's own movements between South Africa and abroad, or the use of the Yale Repertory Theatre, have for his work? Wertheim 's insistence on the primacy of the psychodynamics of family in his discussions also elides other pressing questions. What does Fugard's extraordinary representation of fractured masculinities in his plays from Morrie, Zach, and lohnnie to Boesman, lohn, Winston, Hally, and others tell us in the context of the (changing) conventions of masculinity current at the times of writing? Or how is Fugard's representation of sexuality inflected by his own engagement with Calvinism? And in the context of differing forms of South African patriarchy over the years, what can be said on the subject of his representation of femininity, from the again extraordinary presentations of Hester, Lena, and Miss Helen to the women who appear in My Life or Valley Song? Wertheim's reportage of the narratives and interactions of Fugard 's characters never considers, finally. what Fugard's use of narrative itself might suggest about, say, memory and subjectivity, or whether or when Fugard's reliance on narrative becomes anti-theatrical, except in passing acknowledginent of this problem in The Captain's Table. Indeed, for all their often impressive and huge richness of detail, the narratives of Wertheim's chapters, with their determined hunt for "human relationships" and a didactic teleology, end up losing sight of perhaps one of Fugard's greatest dramatic achievements: his representation of the unpredictabilities of ongoing existential struggle, always within panicular intractable conditions, and never, finally , completely explicable or resolved.