EARLY WORKS: ACTOS, BERNABE AND PENSAMIENTO SERPENTINE is three books in one: 1) a collection of one act plays by Valdez and the famous farmworker theater, El Teatro Campesino, 2) one of the first fully realized, full-length plays by Valdez alone, and 3) an original narrative poem by Luis Valdez. In the first part are collected the original, improvised works of El Teatro Campesino that deal with the exploitation of Mexican farm labor in the California fields, the discrimination found by Mexicans in the schools, and Mexicans being turned into cannon fodder by the U.S. Army in Vietnam. Bernabe is a touching, Lorcaesque poetic drama about a town fool's enchantment and ultimate unity with the earth. Pensamiento serpentino is a long, philosophical poem, based on Mayan thought and cosmology, which analyzes the cultural, religious and political circumstances of Mexican Americans and prepares a metaphysical framework for their future.

    

    Macbeth is a distinguished warrior hero, who over the course of the play, transforms into a brutal, murderous villain and pays an extraordinary price for committing an evil act. A man consumed with ambition and self-doubt, Macbeth is one of Shakespeare’s most vital meditations on the dangerous corners of the human imagination. Award-winning writer and beloved professor Harold Bloom investigates Macbeth’s interiority and unthinkable actions with razor-sharp insight, agility, and compassion. He also explores his own personal relationship to the character: Just as we encounter one Anna Karenina or Jay Gatsby when we are seventeen and another when we are forty, Bloom writes about his shifting understanding—over the course of his own lifetime—of this endlessly compelling figure, so that the book also becomes an extraordinarily moving argument for literature as a path to and a measure of our humanity. Bloom is mesmerizing in the classroom, wrestling with the often tragic choices Shakespeare’s characters make. He delivers that kind of exhilarating intimacy and clarity in Macbeth, the final book in an essential series.

    The play had its world premiere at the Cherry Lane Theatre in New York in spring 2013, starring Jesse Eisenberg and Vanessa Redgrave and directed by Kip Fagan.In The Revisionist, young writer David arrives in Poland with a crippling case of writer’s block and a desire to be left alone. His seventy-five-year-old second cousin Maria welcomes him with a fervent need to connect with her distant American family. As their relationship develops, she reveals details about her postwar past that test their ideas of what it means to be a family.

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.

    Its directionless New York City author arrives in town to defend the book and finds that it has inspired a group of local teens to rebel in strange and unexpected ways. A timely and unforgettable drama about the failure of urban and heartland America to understand each other, The Metal Children explores what happens when fiction becomes a matter of life and death.

    

    Her psychic ability gives her a second type of vision. When she touches objects and people, she looks into their past. But her gift is equal parts curse. She has yet to find the lover who can accept the brutal truth of what she sees. Isolated and rejected, she is ready to leave Los Angeles and abandon her career when she meets FBI profiler Gavin “Mac” MacMillan... Thrown together when the daughter of a mutual friend is abducted, Isabelle discovers that Mac could be the man who won’t push her away. Despite his controlled exterior, she senses a fevered passion in him that boils just below the surface. But as she and Mac give in to their desires and race to save a young girl, Isabelle must learn yet again that every touch has its price! Torn (Second Sight #2) Psychic Isabelle de Grey and FBI Special Agent Gavin “Mac” MacMillan are an improbable couple. But when her world of seeing into the past and his world of profiling criminals overlaps, an intense, sensual relationship quickly erupts. Despite bi-coastal living arrangements, red-hot desire still consumes them both. Though Isabelle is thrilled that Mac is returning to L.A., her happiness is tempered by the grim reality they must face... The serial killer who escaped them has struck again and kidnapped another young woman. Though Isabelle and Mac work together, he keeps their relationship hidden in order to preserve his job. As the investigation falters and the strain of secrecy takes its toll, Isabelle and Mac struggle to find a way forward. Despite the heated passion that explodes between them, hard decisions lay in store for the couple as they discover that every choice has its cost! Taken (Second Sight #3) Although psychic Isabelle de Grey and FBI Special Agent Gavin “Mac” MacMillan are most definitely a couple, they hadn’t counted on being together 24/7. But when a serial killer known as the Chameleon takes a special interest in Isabelle, Mac refuses to leave her side! Though deeply in love, their relationship is put to the test when the FBI, against Mac’s wishes, asks Isabelle to act as a decoy. Although Isabelle is willing, the plan unwittingly plays into Mac’s darkest and secret fear. As their relationship strains to the breaking point and Isabelle’s life hangs in the balance, Mac finally understands that every predator must have their prey... Chosen (Second Sight #4) The Green Earth Commune isn’t all that it seems. When psychic Isabelle de Grey arrives, only her ability to read the past reveals something is terribly amiss. Though her instincts tell her to run, Isabelle can’t say no to a former friend in desperate need of help! But the turmoil has just begun when FBI profiler Gavin “Mac” MacMillan arrives unexpectedly in Los Angeles. As the passion that has always claimed them heats to beyond boiling, Mac and Isabelle find themselves at a crossroads. Tugged in different directions while confronting both past and future, they find that, when it comes to choice, desire is all that matters... Charmed (Second Sight #5) When psychic Isabelle de Grey discovers her ex-boyfriend is alive, nothing can stop her from finding him. But it seems that all roads lead to the Green Earth Commune and Mac has forbidden her from going. After shots were fired at them, it doesn’t take an FBI agent to know the secluded settlement is dangerous! But disagreeing over her plans is the least of their worries as the reality of living together hits them both full force. Not what either of them had expected, the closeness they’d been desperate for only serves to drive them apart. As the mystery of the commune draws them deeper into its web of lies, Isabelle feels she has no choice. Against Mac’s wishes, she plays a risky game, when the seducer is seduced... Changed (Second Sight #6) Though Isabelle and Mac struggle to settle into a new life together, the world seems set against it. Events at the Green Earth Commune take stranger and stranger turns, until neither of them can turn away. Something dark waits in the heart of the small community, though neither of them suspects the deadly truth... But as psychic and FBI profiler work together, their personal lives stall. The risk of reading Mac too closely looms as a new danger that neither of them had foreseen. As their relationship approaches the brink, Isabelle and Mac can no longer deny that they must come together or they will come apart because there is no going back!

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

    With Steffy, his sometime paramour, at his side, Herb decides to take another stab at fatherhood and hopefully this time, get it right.

    Winner of the Los Angeles Drama Critics Circle Award for Best Playwright, David Lindsay-Abaire's Kimberly-Akimbo focuses, with uncanny depth and quirky wit, on a sixteen-year-old girl suffering from a disease that causes her body to age nearly five times faster than it should.

    She meets and joins up with Lloyd Bophtelophti, a true "original" who has changed his name to avoid alimony payments and who now lives with a paraplegic named Pootie (who also pretends to be deaf in order to get double disability). Thus begins a series of picaresque escapades involving numerous psychiatrists, a TV game show, and, eventually, an ill-fated reunion with her husband. Filled with bizarre characters and events, the play reflects the fractured lifestyles which have become the norm for so many in our tenuous times.

    So, when he hears that Mallory’s got terminal brain cancer, Keeler drops everything to see her one last time.But then he runs into a beautiful journalist, who’s trying to escape cartel assassins out to kill her.Keeler’s up for the challenge, but he can’t get Mallory or her family involved, because the cartels never forget.So he’s got to compartmentalize.On one hand there’s a woman who’s life needs saving.On the other, an old buddy who’s life can’t be saved.And this is Texas, on the hottest day of the hottest month of the hottest year that anyone can remember.Author's Note: Tom Keeler books can be read in any order