In Alive in the Writing—an intriguing hybrid of writing guide, biography, and literary analysis—anthropologist and novelist Kirin Narayan introduces readers to some other sides of Chekhov: his pithy, witty observations on the writing process, his life as a writer through accounts by his friends, family, and lovers, and his venture into nonfiction through his book Sakhalin Island. By closely attending to the people who lived under the appalling conditions of the Russian penal colony on Sakhalin, Chekhov showed how empirical details combined with a literary flair can bring readers face to face with distant, different lives, enlarging a sense of human responsibility. Highlighting this balance of the empirical and the literary, Narayan calls on Chekhov to bring new energy to the writing of ethnography and creative nonfiction alike. Weaving together selections from writing by and about him with examples from other talented ethnographers and memoirists, she offers practical exercises and advice on topics such as story, theory, place, person, voice, and self. A new and lively exploration of ethnography, Alive in the Writing shows how the genre’s attentive, sustained connection with the lives of others can become a powerful tool for any writer.

    But when he meets Sylvia, who is going deaf, he decides he finally wants to be heard. With excoriating dialogue and sharp, compassionate insights, Nina Raine crafts a penetrating play about belonging, family and the limitations of communication.Nominated for both the Olivier and Evening Standard Awards for Best Play, Tribes premiered at the Royal Court Theatre in London in 2011. Under the direction of David Cromer, the comic drama is currently receiving its North American premiere in New York City at Barrow Street Theatre through June 3, 2012.

    Several years later, the whole world is at war - including birds and animals. The girl has returned to her aunt to take refuge and begins to describe her journey: "There were piles of bodies and if you stopped to find out there was one killed by coffee or one killed by pins, they were killed by heroin, petrol, chainsaws, hairspray, bleach, foxgloves, the smell of smoke was where we were burning the grass that wouldn't serve..."

    To learn how others had moved beyond labels, he bought his own short bus and set out cross-country, looking for kids who had dreamed up magical, beautiful ways to overcome the obstacles that separated them from the so-called normal world.The Short Bus is his irreverent and poignant record of that odyssey, meeting thirteen people in thirteen states who taught Mooney that there’s no such thing as normal—and that to really live, every person must find their own special way of keeping on.  The Short Bus is a unique gem, propelled by Mooney’s heart, humor, and outrageous rebellions.

    Glatthorn offers examples of how principals can incorporate curriculum leadership into their organizational behavior and re-examines the key issues that continue to influence principals in the real world.

    Born white and poor in New England, Eunice moved from countryside to factory city, worked in the mills, then followed her husband to the Deep South. When the Civil War came, Eunice's brothers joined the Union army while her husband fought and died for the Confederacy. Back in New England, a widow and the mother of two, Eunice barely got by as a washerwoman, struggling with crushing depression. Four years later, she fell in love with a black sea captain, married him, and moved to his home in the West Indies. Following every lead in a collection of 500 family letters, Hodes traced Eunice's footsteps and met descendants along the way. This story of misfortune and defiance takes up grand themes of American history�opportunity and racism, war and freedom�and illuminates the lives of ordinary people in the past. 47 illustrations.

    With expanded coverage of ethics, analysis processes, and approaches, authors Catherine Marshall and Gretchen B. Rossman, have updated this highly popular text to reflect the advances and challenges presented by provocative developments and new applications since the previous edition.

    It relates the story of a young dreamer and English soldier, Edward Waverley, who was sent to Scotland in 1745. He journeys North from his aristocratic family home, Waverley-Honour, in the south of England (alleged in an English Heritage notice to refer to Waverley Abbey in Surrey) first to the Scottish Lowlands and the home of family friend Baron Bradwardine, then into the Highlands and the heart of the 1745 Jacobite uprising and aftermath.

    In this beautifully told novel that crosses borders, cultures, and generations, a young man returns home to care for his aging mother, who suffers from dementia. In his efforts to help her and by turn make amends for their past estrangement from one another, he is compelled to re-imagine his mother’s stories for her before they slip completely into darkness. In delicate, heartbreaking tones, the names for everyday things fade while at the same time a beautiful, haunted life, stained by grief, is slowly revealed.

    Years later, a terminally ill Kello asks Mona to revisit their native island and reclaim the property that their family had left behind. As Mona returns to the Caribbean to confront her family's turbulent past, the reader travels back in time—to nineteenth-century India, to British Trinidad, where her ancestors lived as indentured workers in the cane fields, and finally to urban North America.Steeped in the lyrical rhythms of Caribbean life, this exquisite, richly layered novel explores the immigrant experience with compassion and humour. It is a moving story of race and displacement, of love and betrayal, of endings and beginnings—a swinging bridge of the universal search for self.Praise forThe Swinging Bridge"Beautiful, luminous and an utter pleasure to read. A writer as necessary as Ramabai Espinet should be treasured by us for her unique voice and the unique world she shares with us."—Jamaica Kincaid"The Swinging Bridge is a sweeping story . . . of rich heritage—a blend of Indian and Caribbean sounds, scents and celebrations."—NOW Magazine"An extraordinary achievement in the exercise of remembering. . . . Highly charged with moral intent."—George Lamming

    Carefully chosen selections from Frye, Benjamin, Lévi-Strauss, Lukács, Bakhtin, and other prominent theorists explore the historical significance of the novel as a genre, from its early beginnings to its modern variations in the postmodern novel and postcolonial novel.Offering a generous selection of key theoretical texts for students and scholars alike, Theory of the Novel also presents a provocative argument for studying the genre. In his introduction to the volume and in headnotes to each section, McKeon argues that genre theory and history provide the best approach to understanding the novel. All the selections in this anthology date from the twentieth century—most from the last forty years—and represent the attempts of different theorists, and different theoretical schools, to describe the historical stages of the genre's formal development.

    Did principles of religious freedom and local self-government protect Mormons' claim to a distinct, religiously based legal order? Or was polygamy, as its opponents claimed, a new form of slavery--this time for white women in Utah? And did constitutional principles dictate that democracy and true liberty were founded on separation of church and state? As Sarah Barringer Gordon shows, the answers to these questions finally yielded an apparent victory for antipolygamists in the late nineteenth century, but only after decades of argument, litigation, and open conflict. Victory came at a price; as attention and national resources poured into Utah in the late 1870s and 1880s, antipolygamists turned more and more to coercion and punishment in the name of freedom. They also left a legacy in constitutional law and political theory that still governs our treatment of religious life: Americans are free to believe, but they may well not be free to act on their beliefs.

    But the group is a powerful mix of competing ambitions and its idealism finds little satisfaction in farmwork. Instead, of changing the world, the members of the Blithedale community individually pursue egotistical paths that ultimately lead to tragedy. Hawthorne's tale both mourns and satirizes a rural idyll not unlike that of nineteenth-century America at large.

    The play tells the story of Lincoln and Booth, two brothers whose names were given to them as a joke, foretelling a lifetime of sibling rivalry and resentment. Haunted by the past, the brothers are forced to confront the shattering reality of their future.

    When Amir and his wife Emily (Heidi Armbruster), a white artist influenced by Islamic imagery, host a dinner party, what starts out as a friendly conversation escalates into something far more damaging.