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Theodor Adorno's engagement with fantasy is contemplated. An overview of the etymology of "fantasy" is provided, emphasizing its connection to the words "phantasy" & "fancy." Rather than interpret fantasy as a form of distraction or recreation, it is stated that Adorno perceived fantasy as a necessary component of scientific & scholastic projects. Even though Karl Marx (1906) acknowledges the role that fancy plays in economics, it is argued that the concern with fantasy was stronger in Adorno's works. After further illustrating Adorno's position that fantasy is central to the development of knowledge, his distinction between fantastical thought & the commodification of fantasy in the form of literature is addressed. The issue of whether Lenin's (1977) assessment of capitalism's development in late-19th- & early-20th-century Russia is problematic since it emphasizes fact while discounting fantasy is subsequently contemplated. Additional attention is dedicated to the appearance of the fantastic in the works of William Burroughs; specifically, it is claimed that Burroughs uses aspects of fantasy to highlight the shortcomings of contemporary American society. The need to acknowledge that fantasy is crucial to establishing knowledge & developing judgments about the world is again stressed. 31 References. J. W. Parker

Book review of: Theatre for youth third space: performance, democracy, and community cultural development, by Stephani Etheridge Woodson. ; Publisher PDF

Book review of: Reverberations across small-scale British theatre: politics, aesthetics and forms, edited by Patrick Duggan and Victor Ukaegbu. Bristol: Intellect; ISBN 9781783202973 (£35.00) ; Publisher PDF

Intro -- Contents -- Foreword -- Preface -- Art, Poetry, Fable & -- Fiction -- The Man Who Planted Trees -- In a Pig's Eye -- Words and Images of Edvard Munch -- Judevine -- A Cafecito Story/El Cuento del Cafecito -- Rehearsing with Gods -- Not in His Image -- Nature & -- Adventure Travel -- First Light -- Backtracking -- On Watching Birds -- A Canoeist's Sketchbook -- Set Free in China -- A Shadow and a Song -- The Safari Companion -- The Northern Forest -- The Lost Language of Plants -- Sippewissett -- Javatrekker -- Sex and the River Styx -- In the Company of Bears -- Memoir & -- Biography -- Permanent Parisians -- Goodbye Highland Yankee -- John Burroughs -- Loving and Leaving the Good Life -- This Organic Life -- A Handmade Life -- An Unreasonable Woman -- The Man Who Hated Work and Loved Labor -- Up Tunket Road -- Diary of an Eco-Outlaw -- Good Morning, Beautiful Business -- Slowspoke -- Organic Gardening & -- Small-Scale Farming -- The New Organic Grower -- The Contrary Farmer -- The Apple Grower -- Sharing the Harvest -- Natural Beekeeping -- The Winter Harvest Handbook -- The Resilient Gardener -- The Small-Scale Poultry Flock -- The Holistic Orchard -- The Organic Grain Grower -- An Unlikely Vineyard -- Food & -- Food Culture -- Whole Foods Companion -- The Bread Builders -- Wild Fermentation -- Full Moon Feast -- Cheesemonger -- Chanterelle Dreams, Amanita Nightmares -- Cheese and Culture -- The Art of Fermentation -- Taste, Memory -- Rebuilding the Foodshed -- Life, Liberty, and the Pursuit of Food Rights -- Energy & -- Shelter -- Wind Power -- The Straw Bale House -- The Independent Builder -- Who Owns the Sun? -- The Natural House -- The Hand-Sculpted House -- Passive Solar Architecture -- Reinventing Fire -- The Natural Building Companion -- The New Net Zero -- Permaculture & -- Regenerative Agriculture.

'Relaxed performances' allow spectators to enjoy a non-judgmental environment in the theatre, where they can talk or move around, along with other adjustments to make them more accessible to a range of audiences including those on the autistic spectrum. Typical accommodations include reduced intensity of lighting and sound, provision of visual stories to familiarise spectators with the venue and production, and trained staff available to assist visitors. This paper will evaluate the Autism Arts Festival, an attempt to develop the idea of a relaxed performance further to create an entirely autism-friendly festival in Canterbury, UK. We developed a suite of features to make the festival more accessible, and whilst audience response indicates that no single one was used by all audience members, the suite as a whole was nevertheless effective at increasing the accessibility of the festival. Moreover, discussions with the performers indicate that the festival, as an 'autistic space', was conducive of both a sense of community solidarity and engagement with the politics of neurodiversity.