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The Skulls
Directed byRob Cohen
Written byJohn Pogue
Produced byNeal H. Moritz
John Pogue
Starring
CinematographyShane Hurlbut
Edited byPeter Amundson
Music byRandy Edelman
Distributed byUniversal Pictures
  • March 31, 2000 (United States)
106 minutes
CountryUnited States
LanguageEnglish
Budget$15 million[1]
Box office$50.8 million[2]

The Skulls is a 2000 American thriller film directed by Rob Cohen and starring Joshua Jackson, Paul Walker and Leslie Bibb. Its plot is based upon some of the conspiracy theories surrounding Yale University's Skull and Bones student society.

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The film was critically panned, but successful enough to spawn two direct-to-video sequels, The Skulls II and The Skulls III, released in 2002 and 2004, respectively.

Plot[edit]

Room

Luke McNamara (Joshua Jackson) is a student with aspirations to become a lawyer. A 'townie' who grew up on the 'wrong side of the tracks', he did well enough in school to attend college on a scholarship where he is a champion rower. His best friends at college are his love interest Chloe (Leslie Bibb), and rowing teammate Will (Hill Harper). Will is the coxswain for the Bulldog 8's rowing team and Luke is the captain. At the victory party for the 8's, Chloe is revealed to come from a wealthy family, and this is why Luke is reluctant to reveal his feelings for her. Luke's friendships become strained when he is invited to join a secret society known as 'The Skulls'. Luke passes the first part of the initiation process by stealing an artifact from a rival secret society. He does this with boxing prodigy Caleb Mandrake (Paul Walker) who The Skulls declare his co-conspirator his 'soulmate'. Luke and Caleb are then lectured in the secret ritual room by a senior Skull who is standing in front of a wall with the word 'WAR' engraved into it in huge capital letters. A senior Skull explains that the Skulls require their members to prove themselves in war. Luke has a falling out with Will when Will realizes that Luke has become a Skull.

Luke is amazed he is granted gifts as a sign of Skull membership privilege's: $20,000 in his bank account, a private luxury bedroom and an expensive sport car. Luke quickly strikes up a friendship with Caleb's father, Litten Mandrake (Craig T. Nelson). Litten is the current Chairman of the Skulls and a Federal Court Judge who is pushing for a position in the Supreme Court. Litten and his partner Senator Ames Levritt (William Petersen) take an interest in Luke. Will, who has been conducting research on the Skulls for some time, discovers their secret ritual room. Will gets caught in the room by Caleb and in the ensuing struggle he falls and is presumed dead, when in reality is knocked unconscious. Caleb is ordered to leave the room by his father, who then orders Skulls member and the University's provost Martin Lombard (Christopher McDonald) to break Will's neck. The Skulls manage to move the body and make it look like Will committed suicide in his dorm room by hanging himself.

Luke is greatly troubled by the death of his best friend. Luke's mother died when he was young while he does not know who his father is, and Will's family is the only family he had. Stricken with grief, Luke begins to suspect Will was in fact murdered by Caleb. Caleb also believes that he is guilty, suspecting Will died as a direct consequence of Caleb hitting him. Luke enlists his 'townie' friends from childhood to help solve the mystery. His friends are first unwilling to work with him, as he missed one of their birthday parties, so as an apology and a bribe he gives them a 1963 Ford Thunderbird the Skulls given him. With their help, Luke obtains the Skulls security tapes that prove Lombard committed the murder. In trying to convince Caleb of the truth (that his father was responsible for Will's death), Luke realizes how scared Caleb is of his father. Before Luke can show the evidence to police, the Skulls council, who know Luke has stolen the tapes, vote that he is no longer loyal. Ames Levritt is blackmailed into voting against Luke by Litten Mandrake, who has pictures of him with his much younger mistress. When Luke does go to the police, the tape is switched by Detective Sparrow (Steve Harris) and Luke is confined to a mental hospital under the control of the Skulls.

With the help of Ames and Chloe, Luke manages to escape the hospital and he and Chloe survive an attempt on his life by Martin Lombard, who is shot and killed by Detective Sparrow (who it turns out is working for Levritt). Luke decides that his only option is to fight the Skulls by their own rules, and 'bring war to them'. He challenges Caleb to a duel at the Skulls' private island, by invoking rule 119. Litten tries to take his son's place in the duel but is denied the opportunity due to another Skull rule. After Luke and Caleb take their ten paces and turn around, Luke drops his gun and tries to convince Caleb of the truth and that he is not responsible for Will's murder. Despite being pressured by Litten to kill Luke, Caleb cannot bring himself to pull the trigger. At this point, Litten grabs a pistol and attempts to shoot Luke himself, but before he can fire, Caleb shoots his own father. Caleb, mortified at what he has done, tries to kill himself but is stopped by Luke.

The film ends with Luke's realization that Senator Levritt manipulated Luke and others to bring about Litten's death. Luke becomes disgusted with The Skulls and refuses to participate further, despite threats from Levritt that he will be tracked down someday, and despite, or even because of, Levritt's offer that The Skulls will accept him because he has proven himself in war. As Luke walks away Levritt says to himself, 'Well done son, well done'.

The final shot of the film shows Luke reuniting with Chloe.

Cast[edit]

  • Joshua Jackson as Lucas John 'Luke' McNamara – The new Skulls member.
  • Paul Walker as Caleb Mandrake – One of the new Skulls members along with Luke.
  • Hill Harper as Will Beckford – Luke's classmate and roommate.
  • Leslie Bibb as Chloe Whitfield – Luke's classmate and love interest.
  • Christopher McDonald as Martin Lombard – A provost at Yale University.
  • Steve Harris as Detective Sparrow – A police detective who is in charge of investigating Will's death.
  • William Petersen as Senator Ames Levritt – member of 1972 Skulls class.
  • Craig T. Nelson as Judge Litten Mandrake – Caleb's father, member of 1972 Skulls class.
  • David Asman as Jason Pitcairn
  • Scott Gibson as Travis Wheeler
  • Nigel Bennett as Dr. Rupert Whitney – The member of 1973 Skulls class. He is now head of protocol.
  • Noah Danby as Hugh Mauberson

Setting[edit]

The film was shot in Toronto with the University of Toronto disguised as Yale University, the plot's setting. Scenes were also filmed in the city's suburban neighbourhood of Guildwood.

Many of University of Toronto's most notable buildings are featured in the film. A part of University College stands in for the Skulls' headquarters, while the office of the Skulls' leader shown as being in Trinity College. The rival society is headquartered in the student council building. The protagonists live and eat in Burwash Hall. The opening rowing scene was shot in St. Catharines, Ontario. Several scenes were shot on Dark Island in the Saint Lawrence Seaway.

Production[edit]

In March 1999 it was announced Universal acquired the U.S. and U.K. rights as part of an expansion into teen driven genre fare.[3]Summit Entertainment handled international sales on the film.[3] Newmarket Films financed the Original films produced film as part of a joint venture.[3]

Reception[edit]

Box office[edit]

The film opened at #3 at the North American box office, making US$11,034,885 in its opening weekend, behind The Road to El Dorado and Erin Brockovich.[2]

Critical response[edit]

On Rotten Tomatoes the film has a 9% rating based on 85 reviews. The site's critics consensus states: 'The Skulls is full of nonsense and empty of a good script and plot'.[4] On Metacritic it has a score of 24% based on reviews from 24 critics, indicating 'generally unfavorable reviews'.[5] Audiences surveyed by CinemaScore gave the film a grade B on scale of A to F.[6]

Roger Ebert of the Chicago Sun-Times called it 'So ludicrous in so many different ways it achieves a kind of forlorn grandeur.'[7]

Director Rob Cohen is very fond of the movie and the cast: 'It was a very intense set because I had in my mind that I was telling the story of George Senior and George W Bush. I had gone to Harvard that had the dining clubs but not the skull and bones, the secret societies.But I knew a lot about the secret societies, and I thought this is how the elite functions. This is how the elite knits together these bonds that take them through life and keep them in the elite heights of any society, and I was very excited about portraying that with Paul and Josh and all the cast.To create this secret world of power elites… that was very exciting to me and I got the cast excited about that idea. It’s interesting how many of the critics missed this and didn't understand it and blowed it off as silly. Skull and bones is a reality and the film got very close to how that reality works at Yale.'[8]

See also[edit]

  • The Brotherhood of the Bell (1970 film)

A Room Full Of Bones Pdf Free Download Online

References[edit]

  1. ^'The Skulls (2000) - Financial Information'. The Numbers (website).
  2. ^ abThe Skulls at Box Office Mojo
  3. ^ abc''Skulls' fulfills U's teen intentions'. Variety. Retrieved July 11, 2021.
  4. ^'The Skulls'. Rotten Tomatoes. Retrieved 20 March 2020.
  5. ^'The Skulls'. Metacritic. Retrieved 2020-05-04.
  6. ^'SKULLS, THE (2000) B'. CinemaScore. Archived from the original on 2018-12-20.
  7. ^Ebert, Roger (2000). 'The Skulls movie review & film summary (2000)'. Chicago Sun-Times.
  8. ^Palmer, Jason (April 7, 2018). 'Rob Cohen The Hurricane Heist interview'.

External links[edit]

  • The Skulls at IMDb
  • The Skulls at Rotten Tomatoes
  • The Skulls at AllMovie
Retrieved from 'https://en.wikipedia.org/w/index.php?title=The_Skulls_(film)&oldid=1036535688'

Room(London: Picador; Toronto: HarperCollins Canada; New York: Little Brown, 2010), my Man-Booker-shortlisted seventh novel, is the story of a five-year-old called Jack, who lives in a single room with his Ma and has never been outside. When he turns five, he starts to ask questions, and his mother reveals to him that there is a world beyond the walls. Told entirely in Jack’s voice, Room is no horror story or tearjerker, but a celebration of resilience and the love between parent and child.

An international bestseller as soon as it was published in August 2010, Room has now sold well over two million copies. It won the Hughes & Hughes Irish Novel of the Year, the Rogers Writers’ Trust Fiction Prize (for best Canadian novel), the Commonwealth Prize (Canada & Carribbean Region), the Canadian Booksellers’ Association Libris Awards (Fiction Book and Author of the Year), the Forest of Reading Evergreen Award, the W. H. Smith Paperback of the Year Award and the University of Canberra Book of the Year. It was shortlisted for the Man Booker Prize, the Orange Prize, the Kerry Group Irish Fiction Award, International Author of the Year (Galaxy National Book Awards), the Governor General’s Award and the Trillium English Book Award. The American Library Association gave it an Alex Award (for an adult book with special appeal to readers 12-18) and the Indie Choice Award for Adult Fiction. The Canadian Library Association named it as an Honour Book in their Canadian Young Adult Book Award. The four-voiced audiobook version won one of three Publishers Weekly Listen Up Awards and an Earphones Award.

The New York Times named it as one of their six best fiction titles of 2010 and the Washington Post included it in their Editors’ Top Ten. Room was also winner of a Salon Book Award for Fiction, an NPR Best Book of 2010, a New Yorker Reviewers’ Favorite, Bloomberg’s 2010 Top Novel, The Week Magazine’s Top Book 2010, and featured on many ‘best of the year’ lists including those of the St. Louis Post-Dispatch and the Christian Science Monitor. Room was Amazon.ca and Indigo’s Best Book (as well as a Heather’s Pick) of 2010, fiction winner of the Goodreads Choice Awards, Top Pick of the Channel 4 TV Book Club, and also chosen by the Richard & Judy Book Club. Room was chosen as one of twenty-five titles to be given away by tens of thousands on World Book Night UK 2012.

Room has been translated into forty-two languages.

A personal note:Room was inspired by… having kids; the locked room is a metaphor for the claustrophobic, tender bond of parenthood. I borrowed observations, jokes, kid grammar and whole dialogues from our son Finn, who was five while I was writing it. Room was also inspired by... ancient folk motifs of walled-up virgins who give birth (e.g. Rapunzel), often to heroes (e.g. Danaë and Perseus). Room was also inspired by… the Fritzl family’s escape from their dungeon in Austria – though I doubt I’ll ever use contemporary headlines as a launching point again, since I didn’t like being even occasionally accused of ‘exploitation’ or tagged ‘Fritzl writer’. But on the whole, publishing my seventh novel – and having the great good fortune to win new readers all over the world – has been a delight.

To buy Room

In the US, in paperback: https://www.hachettebookgroup.com/titles/emma-donoghue/room/9780316268356/

or ebook: https://www.hachettebookgroup.com/titles/emma-donoghue/room/9780316129114/

or multi-voiced audiobook: https://www.hachettebookgroup.com/titles/emma-donoghue/room/9781611138436/

A Room Full Of Bones Pdf Free Download Free

In the UK/Ireland/Australia, paperback: http://www.panmacmillan.com/book/emmadonoghue/roompicador40thanniversaryedition?format=978144720281301

or audio: https://thereadinghouse.co.uk/products/room-by-emmadonoghue

In Canada, paperback: http://harpercollins.ca/books/Room-Emma-Donoghue/?isbn=9781443413695

or ebook: http://harpercollins.ca/books/Room-Emma-Donoghue/?isbn=9781443404365

Wherever you live, PLEASE support your local indie bookstore by buying from them either directly or through an indie-friendly hub such as bookshop.org or hive.co.uk.

Reviews

‘Astounding, terrifying… It’s a testament to Donoghue’s imagination that she is able to fashion radiance from such horror.’ – The New Yorker

‘One of the most affecting and subtly profound novels of the year. … For such a peculiar, stripped-down tale, it's fantastically evocative… Not too cute, not too weirdly precocious, not a fey mouthpiece for the author's profundities, Jack expresses a poignant mixture of wisdom, love and naivete that will make you ache to save him -- whatever that would mean.’ – Washington Post Book World

‘A feat of both infectious claustrophobia and controlled perspective.’ – Time

‘Heart-stopping… Donoghue’s utterly gripping plot may sound as if it has been ripped from headlines, but there's real art here… 'Room' is a big wow.’ – San Francisco Chronicle

'Donoghue has created one of the pure triumphs of recent fiction: an ebullient child narrator, held captive with his mother in an 11-by-11-foot room, through whom we encounter the blurry, often complicated space between closeness and autonomy. In a narrative at once delicate and vigorous — rich in psychological, sociological and political meaning — Donoghue reveals how joy and terror often dwell side by side.' – note on Room’s choice as one of five best fiction titles of 2010 in the New York Times

‘Donoghue navigates beautifully around these limitations. Jack’s voice is one of the pure triumphs of the novel… Thrilling and at moments palm-sweatingly harrowing… This is a truly memorable novel, one that can be read through myriad lenses – psychological, sociological, political. It presents an utterly unique way to talk about love, all the while giving us a fresh, expansive eye on the world in which we live.’ – New York Times Book Review (cover review)

‘Jack is precocious but entirely believable, his passage out of cloistered innocence more universal than you might think (it’s no accident, surely, that the book’s title rhymes with “womb”).’ – People (a People Pick)

‘Narrated by a 5-year-old boy so real you could swear he was sitting right beside you… Room has all kinds of emotional wallop. But what makes the emotion possible is that this book is built like a finely crafted instrument that perfectly merges art and function… Room is so beautifully contrived that it never once seems contrived. But be warned: once you enter, you’ll be Donoghue’s willing prisoner right down to the last page.’ - Newsweek

'Room' is indeed suspenseful, but the fact that it could well keep you up late, eager to find out what happens next, isn't the extraordinary thing about this novel… Without denying Jack's vulnerability, Donoghue allows an almost terrifying resilience to seep into his narrative — terrifying because the momentum that drives a child to adulthood, that sends him rocketing away from the past, is so relentless and inexorable. There's a wholeness to the conclusion of 'Room' that doesn't resort to false tidiness and bogus uplift.’ – Salon.com

‘Sophisticated in outlook and execution… Ms. Donoghue makes the gutsy and difficult choice to keep the book anchored somewhere inside Jack’s head… Utterly plausible, vividly described.’ – New York Times

‘A novel so disturbing that we defy you to stop thinking about it, days later … beautifully served by Jack's wise but innocent voice.’ – O Magazine

‘Powerful, tension-filled and takes a big risk… Highly recommended.’ – Now

‘Claustrophobic, controversial, brilliant… inventive, tense, and stringently intelligent.’ - Macleans

‘Remarkable… heartrending… Both gripping and poignant, it’s a tribute to human resourcefulness and resilience and extremity, and a stirring portrait of a mother’s devotion.’ – Toronto Star

‘Riveting and original… a page-turner… With a good deal of cleverness and skill, Donoghue manages to build a level of suspense which makes the book impossible to set aside.’ – London Free Press

‘Inventive and disturbing… compellingly subversive.’ – Winnipeg Free Press

‘Somehow, via the narrative voice of Jack and his stoic and heroic making-sense in words of his small world, it breaks free of every preset category. This is a novel, and a child, that will not be confined…. Pungent and percussive, Jack’s new-minted language grabs hold of his constricted life with startling force and zest … The book often bounces along through its profound darkness with a near-comic exuberance.’ – Independent

‘Charming, funny, artfully constructed and at times almost unbearably moving, Donoghue mines material that on the face of it appears intractably bleak and surfaces with a powerful, compulsively readable work of fiction that defies easy categorization. … Part childhood adventure story, part adult thriller, Room is above all the most vivid, radiant and beautiful expression of maternal love I have ever read. Emma Donoghue has stared into the abyss, honoured her sources and returned with the literary equivalent of a great Madonna and Child. This book will break your heart.' – Irish Times

‘As a life-affirming fable of parent-child love, and an antidote to the prurience of so much crime fiction, it's a triumph, and deserves to be a hit.’ – Daily Telegraph

‘It takes a consummate writer to make us marvel at the mundane. Beckett's Waiting for Godot did it, of course. So did Aleksandr Solzhenitsyn's One Day in the Life of Ivan Denisovich, set in a 1950s Siberian labour camp. Emma Donoghue does it so spectacularly that we are taken by surprise when, in the middle of the novel, resourceful Ma's escape plans swing into action… Donoghue’s great strength – apart from her storytelling gift – is her emotional intelligence.’ – Irish Independent

‘Both hard to put down and profoundly affecting... Donoghue has crafted a narrative that moves as breathlessly as a serial-killer thriller while convincingly portraying, with the precision of a science-fiction novel, how a boy might believe that a room is his whole world.’ – Sunday Times

‘A novel like no other … The grotesque is consistently balanced with the uplifting and there is a moment, halfway through the novel, where you feel you would fight anyone who tried to wrestle it from your grasp with the same ferocity that Ma fights for Jack, such is the author's power to make out of the most vile circumstances something absorbing, truthful and beautiful.’ – Observer

‘A celebration of the freedoms we take for granted. A gripping, moving read.’ – Time Out

‘The story is told with unsurpassed panache. … Room will certainly be much garlanded, and it will deserve every prize it gets. Fantastic.’ – Readers Digest

‘I’ve never read a more heart-burstingly, gut wrenchingly compassionate novel . . . As for sweet, bright, funny Jack, I wanted to scoop him up out of the novel and never let him go. In him, Donoghue has created 21st-century fiction’s most uniquely loveable voice.’ – Daily Mail

‘Not many writers, though, would have had the courage, or the ability, to visit this particular place and produce such a startlingly original and moving piece of work . . . it is a testament to Donoghue’s skill how quickly that voice becomes acceptable, then endearing and finally utterly compelling, as compelling as the murdered young girl who narrated Alice Sebold’s The Lovely Bones. … It is a tremendous achievement.’ - Scotsman

'Totally unique and intriguing. It kept us utterly hooked.' - Cosmopolitan

‘Gripping, harrowing, oddly life-affirming and imaginative… extraordinary power’ – Mirror (Book of the Week)

‘A brilliant book, moving, true, funny, desolate and unmissable.’ – Herald (Ireland)

Extras

An article I wrote ten years after Room: https://www.theguardian.com/books/2021/may/08/emma-donoghue-on-writing-room-i-toned-down-some-of-the-horror-of-the-fritzl-case

A Room Full Of Bones PDF Free Download

The excellent ten-page Back Bay Readers’ Picks Reading Group Guide to Room: Click here.

For an interactive floor plan and lots of other information about Room, check out www.roomthebook.com.

‘A Library for Ma and Jack,’ selection © Emma Donoghue Ltd, 2010.It was so hard choosing just ten books for Jack and Ma to have in Room that I’ve put together a sort of anthology of texts that might help them on the Outside. Click here to read more.

Here is Little, Brown’s atmospheric trailer for the novel:

And HarperCollins Canada’s one, which was a finalist in the year’s book trailer awards:
http://www.youtube.com/watch?v=SBpnelG0f9A

An in-depth 40-minute audio discussion of Room by the Slate Book Club, http://www.slate.com/id/2286457/

Reading from Room at International Festival of Authors in Toronto, October 2010: http://www.theglobeandmail.com/news/arts/books/in-other-words/podcast-emma-donoghue-reads-at-ifoa-2010/article1784074/

Interviewed by Melissa Block on NPR’s All Things Considered, 27 September 2010: http://www.npr.org/templates/story/story.php?storyId=130143360

Interviewed by John Hockenberry on The Takeaway, 29 September 2010: http://www.thetakeaway.org/2010/sep/29/emma-donoghue-her-new-novel-room/

A fascinating case-study of the marketing of Room, broadcast on NPR, 10 September 2010: http://www.npr.org/templates/story/story.php?storyId=129757766

Interviewed by Harriett Gilbert on BBC World Service’s The Strand, 12 August 2010: http://www.bbc.co.uk/iplayer/episode/p008zrbp/The_Strand_The_Strand_Thursday_12th_August_2010/

Interviewed by Jenny Murray on Woman’s Hour, BBC Radio 4, 12 August 2010: http://www.bbc.co.uk/iplayer/episode/b00t89g6/Womans_Hour_11_08_2010/

'Bringing Up Baby', Emma Donoghue in discussion with Sir Michael Rutter at a Royal Society / Royal Society of Literature event, 7 July 2013, http://royalsociety.tv/rsPlayer.aspx?presentationid=1131

Bibliography

Carolyn Gebauer, 'Narrative of Emancipation: Character-Centered Illusion, Cognitive Dissonance, and Narrative Unreliability in Emma Donoghue’s Room (2010),' in her Making Time: World Construction in the Present-Tense Novel (DeGruyter, 2021), 257-175.

Eke Pernik, 'The influence of traumatic experience on a child’s identity development in Emma Donoghue’s Room' (2020), https://dspace.ut.ee/handle/10062/69926

Andrea O'Reilly, 'Redemptive Mothering: Reclamation, Absolution and Deliverance in Emma Donoghue's Room and The Wonder,' in Writing Mothers: Narrative Acts of Care, Redemption, and Transformation, ed. BettyAnn Martin and Michelann Parr (Bradford, ON: Demeter, 2020), pp.141-66

Putti Aisyah and Hujuala Rika Ayu, 'Negotiating Motherhood in Constraining Space in Emma Donoghue's Room,' Paradigm 2 (2): 83, November 2019, https://www.researchgate.net/publication/337692177_NEGOTIATING_MOTHERHOOD_IN_CONSTRAINING_SPACE_IN_EMMA_DONOGHUE'S_ROOM

Kathleen Costello-Sullivan, ' “Stories Are a Different Kind of True”: Narrative and the Space of Recovery in Emma Donoghue’s Room,' Chapter Four of Trauma and Recovery in the Twenty-First-Century Irish Novel (Syracuse: Syracuse University Press, 2018), pp.92-109.

Ann Marie A. Short, “In This Whole Story, That’s the Shocking Detail?” Extended Breastfeeding in Emma Donoghue’s Room,’ in Breastfeeding and Culture: Discourses and Representation, ed. Ann Marie A. Short, Abigail L. Palko and Dionne Irving (Demeter Press, 2018), 149-164.

Sara Martín-Ruiz (University of the Balearic Isles), ‘Emma Donoghue’s Room: Perspectives from Direct Provision’, paper delivered at conference on Irish Shame, Buffalo NY, 2018

Maite Escudero-Alias, 'The Willful Child': Resignifying Vulnerability through Affective Attachments in Emma Donoghue's Room,’ in Victimhood and Vulnerability in 21st Century Fiction, 2017, 35-52.

Andrea O’Reilly, ‘ “All Those Years, I Kept Him Safe”: Maternal Practice as Redemption and Resistance in Emma Donoghue’s Room’, in Journal of the Motherhood Initiative for Research & Community Involvement, 8:1-2 (Spring/Fall 2017), 89-98.

Margaret O’Neill, ‘Transformative Tales for Recessionary Times: Emma Donoghue’s Room and Marian Keyes’ The Brightest Star in the Sky,’ in Lit: Literature Interpretation Theory, 28:1 (2017), 55-74.

Samuel Caleb Wee (Nanyang Technological University), '“…Need to Listen to Jack”: The Alterity of Childhood and Literature in Emma Donoghue’s Room,' paper delivered at IASIL (Singapore, 2017).

Marisol Morales Ladrón, ‘Psychological Resilience in Emma Donoghue’s Room,’ in National Identities and Imperfections in Contemporary Irish Literature: Unbecoming Irishness, ed. Luz Mar González-Árias (London: Palgrave Macmillan, 2017), pp.83-98.

Kathleen Walsh, 'Mother and Father: The Dual Role of the Single Parent in Room,' https://medium.com/@kathleenjuliamary/mother-and-father-the-dual-role-of-the-single-parent-in-room-e36c62a26dc5

Lorenzi, Lucia. 'Am I not OK?': negotiating and re-defining traumatic experience in Emma Donoghue's Room,' Canadian Literature (2016)

Moynagh Sullivan (Maynooth University), 'Mother and Child: Subjective Time, Space, History in Emma Donoghue's Room,' keynote delivered at ACIS (University of Miami, 2015).

Dominique Hetu, ‘Of Wonder and Encounter: Textures of Human and Nonhuman Relationality,’ in Mosaic, 48:3 (Sept 2015). Compares Room with Sous Beton by Karoline Georges.

Claudia Weber, 'Anxieties Reloaded and Fears Overcome: Emma Donoghue’s Room (2010)', in her Televisionization: Enactments of TV Experiences in Novels from 1970 to 2010 (2014), pp.161-82

Renata Brosch (University of Stuttgart),'Counterfocalization and Empathy: The Example of Emma Donoghue’s Room,' paper delivered at 2nd International Network Conference (Durham University, 2014)

Marco Caracciolo, 'Two child narrators: defamiliarization, empathy and reader-response in Mark Haddon's The Curious Incident and Emma Donoghue's Room,' Semiotica, 202 (2014)

Sandra Dinter, 'Plato's Cave Revisited: Epistemology, Perception and Romantic Childhood in Emma Donoghue's Room (2010)', in C21 Literature: Journal of Twenty-First Century Writings, 2.1 (Oct 2013)

A Room Full Of Bones Pdf free. download full

Libe García Zarranz, ‘Corporeal Citizenship: Unruly Bodies and Closet Spaces in Emma Donoghue's Room,’ in ‘Queer TransCanadian Women's Writing in the 21st Century: Assembling a New Cross-Border Ethic,’ DPhil (University of Alberta, 2013), 61-74

Moynagh Sullivan, 'Lactation, Lactation, Lactation: Places, Bodies and In Between in Emma Donoghue's Room,' paper delivered at betweenbodies/bodiesbetween conference, National University of Ireland, Maynooth (2013)

Khem Raj Sharma, 'Narrative Complexity in Emma Donoghue’s Room,' paper delivered at MELUSMELOW International Conference on Patterns of Story Telling, Panjab University, Chandigarh (2013)

Jacklyn Guay, “Blame the Mother: Jungian Analysis of the Media’s Role in Affecting Further Trauma to the Individual, as exemplified in Emma Donoghue’s Room and Lionel Shriver’s We Need to Talk About Kevin”, paper delivered at Popular Culture Association/American Culture Association National Conference (Washington DC 2013)

Renate Brosch, Stuttgart University, ‘Narrativity and Visualisation: Narrative Beginnings as Attention’, paper delivered at International Conference on Narrative (York, 2013)

Maite Escudero-Alias, (Zaragoza, Spain), ‘Beyond Trauma Narrative: Affects and Attachment in Emma Donoghue’s Room’, paper delivered at What Happens Now: 21st Century Writing in English conference (University of Lincoln, 2012)

Sandra Dinter (Leibniz Hanover, Germany), ‘ “It’s like a TV planet that’s all about us”: Postromantic Childhood and Television in Emma Donoghue’s Room’, paper delivered at What Happens Now: 21st Century Writing in English conference (University of Lincoln, 2012)

Anne Fogarty, ‘Tales of Becoming?: Childhood and Adolescence in Contemporary Irish Fiction,’ paper delivered at ESSE-11 conference (Istanbul, 2012)

Marcela Chmelinová, ‘Emma Donoghue: Room – Translation and Analysis’ (BA thesis, University of Masaryk, 2012)

Ann-Sofie Lacroix, 'Jack, the Explorer: Analysis of the Unreliable Child Narrator and the Mother-Child Dyad in Emma Donoghue’s Room (2010)' (MA thesis, University of Leuven, 2011-12)

Ben Davies, ‘Exceptional Intercourse: sex, time and space in contemporary novels by male British and American writers’ [coda about Room], (thesis, University of St Andrews, 2011)

A Room Full Of Bones PDF Free Download

Fintan O’Toole, ‘Future Fictions’, in Princeton University Library Chronicle (LXXIII), Autumn 2010, 407-18. Fascinating essay that puts Room in the context of other current Irish fiction focused on young protagonists.

‘The Q&A: Emma Donoghue’, http://www.economist.com/blogs/prospero/2010/11/room

‘Living Room’, Emily Landau, http://www.walrusmagazine.com/blogs/2010/10/25/living-room/#more-8609

Ron Charles, ‘The teeny, tiny world of little Jack’, Washington Post Book World, 15 September 2010, http://www.washingtonpost.com/wp-dyn/content/story/2010/09/14/ST2010091406651.html

Malcolm Jones, ‘No Exit’, Newsweek, 9 September 2010, http://www.newsweek.com/2010/09/09/books-a-room-with-no-view.html

Aimee Bender, ‘Separation Anxiety’, New York Times Book Review, 19 September 2010

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Nicola Barr, ‘Upstairs, Downstairs… A Child’s Chamber of Horrors’, Observer, 1 August 2010

Declan Hughes, ‘This Book Will Break Your Heart’, Irish Times, 24 July 2010

Mary Shine Thompson, ‘A Room With a View’, Irish Independent, 24 July 2010

‘The NS Books Interview: Emma Donoghue’, http://www.newstatesman.com/books/2010/10/fritzl-case-novel-child-room

Boyd Tonkin, ‘Room With a Panoramic View: How Emma Donoghue's Latest Novel Aims to Tell a Universal Story’, Independent, 6 August 2010, http://www.independent.co.uk/arts-entertainment/books/features/room-with-a-panoramic-view-how-emma-donoghues-latest-novel-aims-to-tell-a-universal-story-2044373.html. A particularly insightful article.

‘I Knew I Wasn’t Being Voyeuristic’, interview by Sarah Crown, Guardian, 13 August 2010, http://www.guardian.co.uk/lifeandstyle/2010/aug/13/emma-donoghue-room-josef-fritzl

Emma Donoghue, ‘Finding Jack’s Voice: Some Thoughts on Children and Language’, in Finding the Words: Writers on Inspiration, Desire, War, Celebrity, Exile, and Breaking the Rules, ed. Jared Bland (Toronto: McClelland and Stewart, 2011).

Emma Donoghue, ‘The Little Voices In Our Heads That Last a Lifetime’, Irish Times, 7 August 2010