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It's like the hit TV show Everybody Loves Raymond, but with a twist. What if there was a long lost third brother who had never been mentioned before in the entire series? And out of the blue, he just drops in unexpectedly!

This would surely cause a stir in the Barone household. The family, who thought they knew everything about each other, would suddenly have to deal with this new addition. Raymond and his brother Robert might be shocked and confused, while their parents, Frank and Marie, would have some explaining to do.

The arrival of this long lost brother could bring up a whole host of new storylines and conflicts. Maybe he has a completely different personality from the rest of the family, or perhaps he has some secrets that he's been keeping all these years. How will the family react to him? Will they welcome him with open arms, or will there be some tension and drama? Only time will tell as this new and unexpected character enters the world of Everybody Loves Raymond.

The monologue about hearing his father attempt to return under the influence is truly incredible.

It's a situation that one can hardly imagine. The father, perhaps intoxicated, is making an effort to come back home.

And in the midst of all this, model airplanes are involved. It's an unexpected element that adds an extra layer of complexity to the story.

One can't help but wonder how the model airplanes fit into the picture. Are they a symbol of something? Or perhaps they are just a random detail that happened to be present during this strange incident.

Whatever the case may be, the combination of the father's attempt to return under the influence and the presence of the model airplanes makes for a truly captivating and unforgettable monologue.

It leaves the listener or reader with a sense of curiosity and a desire to know more about what exactly happened and what it all means.

It's a story that will stay with you long after you've heard or read it.

Shameless meets Field of Dreams

"Yup. That sounds about right."
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In "Buried Child" by Sam Shepard, the dysfunctional family is set in agrarian America.

When Vince stops by his grandparents' house with his girlfriend on the way to visit his parents across the country, secrets start to unfold. Vince realizes that six years of no contact has taken a serious toll on his familial relations, especially when he discovers his father is living at his grandparents' farm.

Shepard explores the theme of finding one's identity within a collective. None of his family recognizes Vince upon his return, and they even go to the extent of denying his existence. Dodge, Vince's grandfather, struggles to transition back into American society after World War II.

The outside factors in the play, such as the priest and Vince's girlfriend, fail to resolve the conflict by the end. The drunken pastor's presence with Vince's grandmother in the final scene emphasizes Shepard's belief that the church no longer has a significant role in the typical American household.

Overall, "Buried Child" presents a complex and disturbing picture of a dysfunctional family and the challenges of finding one's place in a changing world.

Just saw a production of this play at SUNY New Paltz.

It seemed to be faithful to Shepard's revised version. I must say there's much in this play to disturb.

It seems to hover somewhere between hyper-realism and a kind of mythic/archetypal dimension.

Though what anyone or anything represents is never made clear, which adds to the overall feeling of disturbance.

Each member of this highly dysfunctional family seems to have their own unique manifestation of PTSD.

None wins our trust or affection. Only the two outsiders, Vince's girlfriend Shelly and the local minister, present profiles that we can judge by normal human standards.

She is a compassionate, caring person, while he is a weak-minded hypocrite.

And having checked the script in several places, I can say that much that is creepy and puzzling is in Shepard's play.

Whether it's of his own invention or something worked out by the director and actors in early productions.

Give it a read and discover your level of tolerance for unanswered questions.

Think "No Exit" meets "The Ballad of the Sad Cafe."

This play truly challenges our understanding and forces us to confront the uncertainties and dysfunctions within.

It makes us question our own perceptions and the nature of human relationships.

It's a thought-provoking and disturbing piece that lingers in the mind long after the final curtain.

The play is divided into two parts, inside and outside. The exterior of the house is just a backyard with only its name passing by. The backyard is further divided into two parts, the upper and lower part of the soil. Under the soil lies the corpse of the (blind) man killed by Dodge (his son Tilden and the servant of his wife). Shepard creates a duality of space and time in a more ancient way. Each inhabitant of the house lives in their own space and does not step out of it (not even when talking). Tilden's space is the backyard (the upper part of the soil). Tilden carries vegetables from the backyard to the house all day long, even though no vegetables reach the other members of the family compared to him.

DODGE: Where’d you pick it from?
TILDEN: Right out back.
DODGE: Out back where!
TILDEN: Right out in back.
DODGE: There’s nothing out there—in back.
TILDEN: There’s corn.
DODGE: There hasn’t been corn out there since about nineteen thirty-five! That’s the last time I planted corn out there!
TILDEN: It’s out there now.

Although it is not explicitly stated, 1935 is the year when the child was killed. After this date, the family cuts off all their relations completely (they even act as if they don't know their own relatives who come from other cities until they get used to them in the family environment full of curses).

For the family, accepting the vegetables in the backyard means accepting the corpse under the soil. One day, the facts come to light. After the sin is revealed, the spaces mix with each other (in fact, there were leaks throughout the play, for example, the pumpkins carried from the backyard, the rain that fell throughout the play soaked the inside of the house, etc. The outside leaked into the inside, and the effect of the sin always leaked into the house). In the last scene, the change of the images and spaces is almost instantaneous. Dodge goes under the soil, and his sin - the corpse of the child - is dug up by Tilden and brought into the house. After the corpse comes out, the sun comes out, just like the facts come out. Now Halie (the mother) can see the pumpkins in the backyard.

HALIE’S VOICE: Tilden was right about the corn you know. I’ve never seen such corn.

There are numerous aspects that one could expound upon regarding "Buried Child."

It is a profoundly dark and disturbing southern gothic narrative, delving into the dysfunctional dynamics of a family.

It serves as a profound treatise on family values and the secrets that hold them together.

Most significantly, it is an exquisitely masterful play. Shepard's artistic voice shines through with remarkable clarity, and his storytelling has never been more accomplished.

Surrealism pervades every corner of the play, with violent undertones lurking beneath the surface, threatening to rupture at any moment.

All the while, the exterior attempts to maintain an illusion of cleanliness, but this facade is ultimately shattered as the final act draws to a close.

It is truly brilliant work that leaves a lasting impression on the audience.

This play was extremely surreal,

and it undeniably had an American Gothic feel to it.

I didn't always precisely understand what every single thing meant.

However, I truly relished the general emotions that were evoked while I was reading.

The strange and dreamlike elements of the play added an air of mystery and intrigue.

The American Gothic style, with its dark and sometimes macabre undertones, gave the play a unique and captivating quality.

Even though there were parts that were a bit confusing, the overall experience of reading the play was one that I found quite enjoyable.

The way the author was able to create such a vivid and atmospheric world through words was truly remarkable.

It made me want to explore more of this style of literature and see what other strange and wonderful stories I could discover.

I had a rather complex relationship with this book.

I loved certain aspects of it, perhaps the unique concepts or the way it made me think in new ways. However, at the same time, I also hated some parts. Maybe it was the convoluted plot or the way the characters were developed.

So, in the end, I found myself averaging my feelings to a state of like. This book is truly, truly bizarre. It has the power to leave you utterly baffled and lost, as if you've been thrown into a strange and unfamiliar world.

But therein lies its charm. Its uniqueness is what makes it interesting and keeps you coming back for more. Despite the confusion and frustration, there's something about this book that keeps pulling you in, making you want to understand it better.

It's a book that defies categorization and challenges your expectations, and for that, I can't help but be intrigued by it.

Buried Child - Sam Shepard

This piece is an absolute masterpiece that is one hundred percent dark, twisted, and wonderful. It delves deep into the human psyche, exploring themes of family, secrets, and the hidden underbelly of life. The story is filled with unexpected twists and turns that keep the reader on the edge of their seat from beginning to end.

However, after reading it, I couldn't help but feel a strange mix of emotions. On one hand, I was in awe of Shepard's writing talent and his ability to create such a captivating and disturbing world. On the other hand, I felt a sense of sadness and pity for the characters and their tragic circumstances.

In fact, I wanted to give Mr. Shepard a hug and a plate of tiny tacos to make him feel better. It might seem like a strange impulse, but there was something about the story that touched me on a deep level and made me want to reach out and offer some form of comfort. Maybe it was the realization that even in the darkest of stories, there is still a glimmer of hope and humanity.

A Fierce 1979 Pulitzer Prize winner

stands as a remarkable achievement in the literary world. This work delves into the concept of a form of exorcism that grapples with demonic forces in America

. It takes readers on a thrilling journey through the dark and mysterious realm of the supernatural. The author skillfully weaves a tale that combines elements of horror, drama, and psychological exploration

. Through vivid descriptions and engaging characters, the story comes to life, captivating the reader's imagination. The exploration of demonic forces in America adds a unique and chilling dimension to the narrative

. It makes us question the existence of the unknown and the power that such forces may hold. This Pulitzer Prize-winning work is not only a testament to the author's talent but also a thought-provoking and spine-tingling read

.

I have a deep longing to witness this being staged with outstanding actors.

When I read it, I couldn't help but feel that it came across as a bit awkward and stilted. However, I am well aware that it was nominated for five Tonys and even won the Pulitzer.

This leads me to believe that when experienced in a live setting, it must have an incredibly moving impact.

The combination of the talented actors bringing the story to life and the audience's immediate reaction and connection could potentially transform the whole experience.

It makes me eager to see how the nuances and emotions that might have been lost in the written form can be fully realized and felt in a live performance.

I can only imagine the powerful effect it would have on me and the other viewers.