It raises the issues our girls might not be talking about publicly, and guides their parents on how experts believe we should deal with it.At ten, we know how girls are pigeonholing themselves into what they think they should be. Whether they see themselves as academic or not, whether they are interested in boys, puberty is a reality, friendship fights are underway, and the influence of social media is impacting.With heightened pressure from what they see in the media, in movies and on TV, our girls are leaving childhood behind well before they hit their teens. Not surprisingly, emotions can be heightened and relationships can be fraught. So many parents struggle to understand the pressures our girls are under and how to deal with their emotional volatility. Journalist and social commentator Madonna King has an extraordinary ability to connect with experts, schools and the girls themselves to deliver the answers parents need and the communication our girls want.TEN-AGER is the perfect guide to help parents understand how their daughter is feeling, what they need to know, what to say, and when to stay silent and listen., ,

    He explores the queasy relationships between life and art, love and estrangement, and the bane that is American identity drift, with unsparing but compassionate candor.” –Misha Berson, Seattle Times“Margulies’s remarkable gift of building characterization through realistic dialogue is undiminished. Full of aching ruefulness that underlies the comedy, Brooklyn Boy’s scenes are written with precision and humor. The play isn’t about Brooklyn, nor is it about a boy—it’s about a man without a home.” –Don Shirley, Los Angeles TimesThis new play by the Pulitzer Prize-winning author of Dinner with Friends follows the career of Eric Weiss, a writer whose novel hits the bestseller list the same time his life begins to unravel. His wife is out the door, his father is in the hospital, and his childhood friend thinks he has sold himself to the devil. A funny and emotionally rich look at family, friends and fame.Donald Margulies received the 2000 Pulitzer Prize for Drama for Dinner with Friends. The play received numerous awards, including the American Theatre Critics Association New Play Award, the Dramatists Guild/Hull-Warriner Award, the Lucille Lortel Award, the Outer Critics Circle Award and a Drama Desk nomination, and has been produced all over the United States and around the world. In addition to his adaptation of God of Vengeance, his many plays include Collected Stories, The Country House, Sight Unseen, The Model Apartment, The Loman Family Picnic, What’s Wrong with This Picture? and Time Stands Still. Mr. Margulies currently lives with his wife and their son in New Haven, Connecticut, where he teaches playwriting at Yale University.

    How can this wildly diverse quartet—separated by cultural chasms and vastly different perspectives on history—navigate a complicated, hilarious thicket of privilege, representation, and of course school district regulations? The schools are waiting, and the pageant must go on!

    A paragon of remorseless evil, Barabas befriends and betrays the Turkish invaders and native Maltese alike, incites a duel between the suitors for his daughter's hand, and takes lethal revenge upon a convent of nuns.Both tragedy and farce, this masterpiece of Elizabethan theater reflects the social and political complexities of its age. Christopher Marlowe's dramatic hybrid resonates with racial tension, religious conflict, and political intrigue — all of which abounded in 16th-century England. The playwright, who infused each one of his plays with cynical humor and a dark world view, draws upon stereotypes of Muslim and Christian as well as Jewish characters to cast an ironic perspective on all religious beliefs.The immediate success of The Jew of Malta on the Elizabethan stage is presumed to have influenced Marlowe's colleague, William Shakespeare, to draw upon the same source material for The Merchant of Venice. The character of Barabas is the prototype for the well-known Shylock, and this drama of his villainy remains a satirical gem in its own right.

    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.

    Jacobs's riotous—and surprisingly informative—ventures into experiential journalism. The Know-It-All:  Puzzle along with A.J. as he endeavors to read—and retain—the entire encyclopedia, and discover what exactly it is he learns along the way. The Year of Living Biblically:  Discover what life would be like in the 21st century if you lived precisely by the dictates of the Bible—the insights gained about religion might surprise you. My Life as an Experiment: Join A.J. on a roller-coaster tour of life as a human guinea pig: he explores both the perks and pitfalls of various undertakings in a series of charming essays, including those titled “My Outsourced Life" and "My Life as a Beautiful Woman."

    It provides scriptural solutions to life altering problems such as low self-esteem, abuse, and depression. Black Girls Don’t Cry frees us from the bondage of regrets, encourages us to drop the baggage from our past, and moves us forward towards a renewed strength in Christ.

    This account of an American institution explores the possibility that the magazine, in purporting to teach about distant cultures, actually tells us much more about our own. Lutz & Collins go inside the Nat'l Geographic Society to investigate how its photographers, editors & designers select images & text to produce representations of 3rd World cultures. Thru interviews with editors, they describe the process as one of negotiating standards of balance, objectivity, informational content & visual beauty. Then, in a close reading of some 600 photos, they examine issues of race, gender, privilege, progress & modernity thru an analysis of the way such things as color, pose, framing & vantage point are used in representations of non-Western peoples. Finally, interviewing readers, they assess how the magazine's cultural narratives are received & interpreted, & identify a tension between the desire to know about other peoples' ways & the wish to validate middle-class American values. The result is a complex portrait of an institution & its role in promoting a kind of conservative humanism that acknowledges universal values & celebrates diversity while allowing readers to relegate non-Western peoples to earlier stages of progress. We see the magazine & the Society as a middlebrow arbiter of taste, wealth & power. We get a telling glimpse into middle-class culture & all the wishes, assumptions & fears it brings to bear on armchair explorations of the world.

    With all the authority and elegance such a subject demands, Yagoda tells the fascinating story of the tiny journal that grew into a literary enterprise of epic proportions. Incorporating interviews with more than fifty former and current New Yorker writers, including the late Joseph Mitchell, Roger Angell, the late Pauline Kael, Calvin Trillin, and Ann Beattie, Yagoda is the first author to make extensive use of the New Yorker's archives. About Town penetrates the inner workings of the New Yorker as no other book has done, opening a window on a lost age.

    He will learn to face himself, to hide nothing from himself -- and to do so takes an insatiable curiosity about the human condition. from the Prologue Uta Hagen, one of the world's most renowned stage actresses, has also taught acting for more than forty years at the HB Studio in New York. Her first book, Respect for Acting, published in 1973, is still in print and has sold more than 150,000 copies. In her new book, A Challenge for the Actor, she greatly expands her thinking about acting in a work that brings the full flowering of her artistry, both as an actor and as a teacher. She raises the issue of the actor's goals and examines the specifics of the actor's techniques. She goes on to consider the actor's relationship to the physical and psychological senses. There is a brilliantly conceived section on the animation of the body and mind, of listening and talking, and the concept of expectation. But perhaps the most useful sections in this book are the exercises that Uta Hagen has created and elaborated to help the actor learn his craft. The exercises deal with developing the actor's physical destination in a role; making changes in the self serviceable in the creation of a character; recreating physical sensations; bringing the outdoors on stage; finding occupation while waiting; talking to oneself and the audience; and employing historical imagination. The scope and range of Uta Hagen here is extraordinary. Her years of acting and teaching have made her as finely seasoned an artist as the theatre has produced.

    Today we focus less on the Roman Republic than on the empire that took its place. Depending on who's doing the talking, the history of Rome serves as either a triumphal call to action or a dire warming of imminent collapse.The esteemed editor and author Cullen Murphy ventures past the pundits' rhetoric to draw nuanced lessons about how America might avoid Rome's demise. Working on a canvas that extends far beyond the issue of an overstretched military, Murphy reveals a wide array of similarities between the two empires: the blinkered, insular culture of our capitals; the debilitating effect of venality in public life; the paradoxical issue of borders; and the weakening of the body politic though various forms of privatization. He persuasively argues that we most resemble Rome in the burgeoning corruption of our government and in our arrogant ignorance of the world outside -- two things that are in our power to change.In lively, richly detailed historical stories based on the latest scholarship, the ancient world leaps to life and casts our own contemporary world in a provocative new light.

    Underprivileged schools. Just plain bad schools.”   That’s how Eve L. Ewing opens Ghosts in the Schoolyard: describing Chicago Public Schools from the outside. The way politicians and pundits and parents of kids who attend other schools talk about them, with a mix of pity and contempt.   But Ewing knows Chicago Public Schools from the inside: as a student, then a teacher, and now a scholar who studies them. And that perspective has shown her that public schools are not buildings full of failures—they’re an integral part of their neighborhoods, at the heart of their communities, storehouses of history and memory that bring people together.   Never was that role more apparent than in 2013 when Mayor Rahm Emanuel announced an unprecedented wave of school closings. Pitched simultaneously as a solution to a budget problem, a response to declining enrollments, and a chance to purge bad schools that were dragging down the whole system, the plan was met with a roar of protest from parents, students, and teachers. But if these schools were so bad, why did people care so much about keeping them open, to the point that some would even go on a hunger strike?   Ewing’s answer begins with a story of systemic racism, inequality, bad faith, and distrust that stretches deep into Chicago history. Rooting her exploration in the historic African American neighborhood of Bronzeville, Ewing reveals that this issue is about much more than just schools. Black communities see the closing of their schools—schools that are certainly less than perfect but that are theirs—as one more in a long line of racist policies. The fight to keep them open is yet another front in the ongoing struggle of black people in America to build successful lives and achieve true self-determination.

    For five straight years, from 1958 through 1963, the home of Knute Rockne and Frank Leahy could not produce one winning season. Plagued by a series of bad coaching choices, inept management, and a loss of institutional support, no one could be sure if the Fighting Irish would ever return to glory. When "Touchdown Jesus" was erected in 1964, it presided over a team so hopeless that the entire football program was on the brink of collapse.Little did anyone know, help was on its way in the form of Ara Parseghian, a controversial choice for head coach---the first one outside of the Notre Dame "family"---who had only set foot on Notre Dame soil when his football teams played (and won) there. It was now his responsibility to rebuild the once-proud program and teach the Fighting Irish how to win again. This was no small task.The men of Notre Dame football were a bunch of unlikelies and oddballs, but Parseghian transformed them into a team: a senior quarterback who would win the Heisman Trophy two weeks before he picked up his first letter jacket; a five-foot-eight walk-on who would go on to make first team All-American; and an exceptionally rare black player, who would overcome much more than his quiet demeanor to rise to All-American, All-Pro, NFL Hall of Famer, and to justice of the Minnesota Supreme Court.Parseghian would change everything, from the uniforms and pads to the offensive strategy. He switched players from position to position like pieces on a chessboard, and just before the season opener, he hung a motto over the locker-room door:"What tho the odds""Be great or small""Notre Dame men""Will win over all"It would be a huge gamble against great obstacles, but Ara Parseghian had that look in his eye. . . ."New York Times" bestselling author Jim Dent chronicles one of the greatest comeback seasons in the history of college football---the first season in what is known as the "Era of Ara." Once again confirming his position as one of the top sportswriters in the country, Dent writes with passion, humor, and incredible insight, bringing the legends of Notre Dame football to life in an unforgettable story of second chances, determination, and unwavering spirit.

    Sweet recollections of driving with her beloved uncle intermingle with lessons about the darker sides of life. Balmy evenings are fraught with danger; seductions happen anywhere. Li'l Bit navigates a narrow path between the demands of family and her own sense of right and wrong.

    He shows how garbage affects residents in vulnerable communities and poses health risks to those who dispose of it. He follows the trash, the pollution, the hazards, and the people who encountered them in the period 1880-2000. What unfolds is a tug of war among social movements, government, and industry over how we manage our waste, who benefits, and who pays the costs.Studies demonstrate that minority and low-income communities bear a disproportionate burden of environmental hazards. Pellow analyzes how and why environmental inequalities are created. He also explains how class and racial politics have influenced the waste industry throughout the history of Chicago and the United States. After examining the roles of social movements and workers in defining, resisting, and shaping garbage disposal in the United States, he concludes that some environmental groups and people of color have actually contributed to environmental inequality.By highlighting conflicts over waste dumping, incineration, landfills, and recycling, Pellow provides a historical view of the garbage industry throughout the life cycle of waste. Although his focus is on Chicago, he places the trends and conflicts in a broader context, describing how communities throughout the United States have resisted the waste industry's efforts to locate hazardous facilities in their backyards. The book closes with suggestions for how communities can work more effectively for environmental justice and safe, sustainable waste management.