Blood Wedding tells the story of a couple drawn irresistibly together in the face of an arranged marriage; Doña Rosita the Spinster follows the appalling fate of a young woman beguiled into the expectation of marriage and left stranded for a lifetime whilst Yerma is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. Set in and around his home territory, Granada, the plays return again and again to the lives of passionate individuals, particularly women, trapped by the social conventions of narrow peasant communities. The plays appear here in new playable translations.

    But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fiancé, Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and needs help packing. Amanda balks and ends up (gently) hitting the postman, who happens to be her first boyfriend. They spend the night together in an apple orchard, where Amanda tries to tell Billy how her life got sidetracked. It has something to do with being a young woman in a profession that only recognizes famous men. Billy acts like he might have the answer, but doesn't. Neither does Amanda's mother. Or, for that matter, her father. A Feminine Ending is a gentle, bittersweet comedy about a girl who knows what she wants but not quite how to get it. Her parents are getting divorced, her fiancée is almost famous, her first love reappears, and there's a lot of noise in her head but none of it is music. Until the end. "Ending′ is a promising beginning...the playwright has a sense of humor that brings to mind a budding Wendy Wasserstein and a liberated sense of form that evokes a junior Paula Vogel."-Los Angeles Times "Darkly comic. FEMININE ENDING has undeniable wit." -New York Post. "Appealingly outlandish humor." -The New York Times. "Courageous. The 90-minute piece swerves with nerve and naivete. Sarah Treem has a voice all her own." -Newsday.

    

    Secrets are revealed and hearts are being crushed. We will see who’s going to be the last man standing and which woman will hold the key to which man’s heart. More drama and more backstabbing but as we already know, only one person can come off on top. Let’s just see who will be the last man standing.

    While struggling to get his feet planted deep in the dope game, he becomes attached to the little boy. Being affiliated with other hustlers and robbers eventually jeopardizes his life as well as the child's. When enough guns go off and enough bodies get laid to rest, Manus better have enough money to buy his son from the woman who threatens to separate them forever.

    Enormously likable and a habitual screw-up, Eric Mercer has settled into a sometimes raucous, underachieving life in his one-stoplight hometown—a life cobbled together from his part-time activities as bartender at the American Legion, assistant mortician, and father to his beloved 5-year-old daughter, Tess. Tess seems to be the main reason smart, talented, twenty-four-year-old Eric is staying in town, though her mom, a centerfold-quality beauty, would have it otherwise. When Jill, the lost love of his life, returns to Pinely in the same week that the town goes nuts in preparation for the high school football team's Big Game, life unexpectedly shifts into high gear, and Eric must blunder his way toward enlightenment—fast. Authentic and refreshingly unpredictable, Small Town Odds is written with an acute sense of place and character reminiscent of Richard Russo.

    These stories will give you goose-bumps, will scare you, will make you laugh and cry.Each story is inimitable in its own way and gives an insight into varied human emotions. Author has assembled stories from all spheres of life into this book.The Book will definitely leave a smile on your face, once you have read them all.

    Falling in love with Boss, though, is the easy part; staying in love will prove to be a much harder task. When Meesha discovers that her heart's desire is not only a well-connected gangster, but is also next in line to head the mob that controls the entire city of St. Louis, she must make the most difficult decision of her entire young life. When she decides to stand by her man, it becomes painfully clear that, even though she's the only woman in his heart, she's not the only woman in his bed...Malcolm "Boss" Clark knows better than to fall for a girl almost ten years younger than him. He's a man, and Meesha is just a girl, but there's something about her that won't let Boss walk away. Their relationship moves fast and burns hot, much like the city they call home. In the blink of an eye, they find themselves dangerously in love with two small daughters and their first son on the way. The love soon turns to hate, though, when Meesha's doctor breaks the news to her that she's HIV-positive. Certain that Boss contracted the virus from one of his numerous affairs, an emotionally distraught Meesha locks herself in a bathroom with her husband, then proceeds to point his own gun in his face and demand answers - but will the truth set her free, or just keep her bound...?

    He announces he is the Lord of Misrule and appoints his Court of Fools.Very quickly odd things start to happen.Previously unseen magic is revealed, and paranormal characteristics are unveiled.And unfortunately, darker events occur, too.Unless Avery, Alex, and the other witches can find a solution, Yuletide may not be as joyous as they hoped.

    Although long neglected, the four plays collected in this critical edition reveal the thoroughly modern nature of her concerns. Trifles (1916) develops a feminist critique of social role, while The Outside (1917) stages a debate between the life force and a perverse celebration of death. In The Verge (1921), Glaspell presented an experimental work of considerable proportions, more daring in many ways than anything attempted by O'Neill. And though Inheritors (1921) is far more conventional, it nonetheless questions the nature and reality of American pieties. Long known for a single play, Glaspell now emerges as a significant figure in the history of American drama, a woman of genuine creative innovation.

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    Also known as "Jet of Blood".

    The family in focus is that of two brothers, Jiten and Nitin, who run an advertising agency and are married to sisters: Dolly and Alka. Their mother, Baa, moves between the two households, attached more to her memories of the past than to any present reality. Marital friction, sibling rivalry, the traditional tension between mother-in-law and daughters-in-law, the darker moments of business and personal dealings, the play takes us through the entire gamut of emotional experience as it winds to a climactic finish. With its relentless pace, crisp idiom and unflinching insight into the urban milieu, this is a play that confirms Mahesh Dattani's reputation as India's most influential playwright.

    Jody is in his forties and runs a map store. Not one for the outside world, he stays in his store all the time. His friend, Carl is in his late thirties and has been bringing chairs of dead friends into Jody's store and leaving them there. When Jody needs to take an AIDS test, Carl tries to convince him it is not only okay to leave the store, but also that he must take responsibility for his life. If he doesn't, he will join the set of chairs that Carl has taken great pains to place in the right spots around the store. Jody finally leaves the map store to take his HIV test and return to find Carl sitting in a chair of his own. With this gesture, we know that Carl has joined the many of their friends who have died, but now Jody must take Carl's place as the caretaker.

    Set in September of 1916, the play combines historical fact and legend, exploring the deep-seated Ameri