As the reader is catching his breath, the tale moves quietly forward.
The Winter's Tale moves towards healing and courtliness; The Cherry Orchard towards the dismantling of an old regime.
The wistful, idiosyncratically funny tale moves to Broadway this fall (starting previews Oct. 7, at the Barrymore), with David Cromer's production retaining its Off Broadway leads: Tony Shalhoub, as the group's conductor, and Katrina Lenk, as a world-weary local.
Mr. Puzzo and the director, Adam Fitzgerald, keep the compact (75 minutes), fractured tale moving quickly and clearly, some early humor falling by the wayside as this once-promising relationship moves inexorably toward the trash bin of doomed love.
The chapters in Askill's tale move from winning the Grand Marnier Design Award after finishing school, to interning with Alexander McQueen in London, working with Dior in Paris, and now running his own jewellery studio in New York.
Yet his own Catholic nostalgia lingers in a conviction that "The Canterbury Tales" "moves between piety and farce".
The novel is partly set in an unspecified Michigan town, and the unfolding story, replete with buried treasure, violent deaths and slavery tales, moves steadily south to Pennsylvania, where Milkman's grandfather had died, and finally to Shalimar in Virginia, the home of his slave ancestors.
We will see these actors again, but first Tennessee Williams: Weird Tales moves onto a decidedly weirder, darker, and sexier story called Ivan's Widow.
Doerr's brooding tales move gracefully back and forth between distant times and places — South Africa, Germany, Lithuania, China, the United States — and are linked by a preoccupation with the way memories are eroded by the depredations of time.
Today, fairy tales move on two different tracks: films like "Snow White and the Huntsman" and television series like "Once Upon a Time" add existential torment, surreal plot twists and macabre special effects for their adolescent and adult audience, while adaptations for children tame the tales' original melodrama and impose moral lessons on their plotlines.
Oral narratives famously neglect psychology for plot, and these tales move with warp speed out of the castle and into the woods, generating multiple encounters with ogres, dragons, witches, and other villains, leaving almost no room for expressive asides or details explaining how or why things happen.
