Her plays have been produced in many theatres across the U.S. including Second Stage (NY), South Coast Rep (Costa Mesa), Yale Repertory Theatre (New Haven), Alliance Theatre (Atlanta) and Steppenwolf (Chicago). She has won the Heideman and the White Bird awards and was a runner-up for the Susan Blackburn award.

    In Money Has No Smell, Paul Stoller offers us a more complete portrait of the complex lives of West African immigrants like Diallo, a portrait based on years of research Stoller conducted on the streets of New York City during the 1990s.Blending fascinating ethnographic description with incisive social analysis, Stoller shows how these savvy West African entrepreneurs have built cohesive and effective multinational trading networks, in part through selling a simulated Africa to African Americans. These and other networks set up by the traders, along with their faith as devout Muslims, help them cope with the formidable state regulations and personal challenges they face in America. As Stoller demonstrates, the stories of these West African traders illustrate and illuminate ongoing debates about globalization, the informal economy, and the changing nature of American communities.

    The author, a specialist in early Christianity, reveals the light that leading theologians of the early church shed on contemporary discussions of what it means to be human. Each chapter explores a different facet of the divine image and likeness and maps out a path that can lead toward wholeness and holiness. This fresh approach to theological anthropology brings Greek patristic theology to students in a readable fashion.

    What's your name? Where were you born? What is your date of birth? Simple questions that we are asked throughout our lifeand shows what makes us who we really are.

    This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    Focusing on Huli “passenger women,” (women who accept money for sex) Wayward Women explores the socio-economic factors that push women into the practice of transactional sex, and asks how these transactions might be an expression of resistance, or even revenge. Challenging conventional understandings of “prostitution” and “sex work,” Holly Wardlow contextualizes the actions and intentions of passenger women in a rich analysis of kinship, bridewealth, marriage, and exchange, revealing the ways in which these robust social institutions are transformed by an encompassing capitalist economy. Many passenger women assert that they have been treated “olsem maket” (like market goods) by their husbands and natal kin, and they respond by fleeing home and defiantly appropriating their sexuality for their own purposes. Experiences of rape, violence, and the failure of kin to redress such wrongs figure prominently in their own stories about becoming “wayward.” Drawing on village court cases, hospital records, and women’s own raw, caustic , and darkly funny narratives, Wayward Women provides a riveting portrait of the way modernity engages with gender to produce new and contested subjectivities.

    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.

    It is a story of risk and adventure, of self-reliance and service, of loyalty and friendship. It is a story driven by an abiding faith in our country.Raised in a large Irish-Catholic family in Philadelphia at a time when kids hid under their desks in atomic war drills, Chris's life etched a pattern: take a leap, live an adventure, then learn what it means. As a young Peace Corps graduate, Chris moved to DC and began knocking on doors on Capitol Hill. With dreams of becoming what Ted Sorensen had been for Jack Kennedy, Chris landed as a staffer to Utah Senator Frank Moss, where his eyes were opened to the game of big-league politics.In the 1970s, Matthews mounted a campaign for Congress as a Democratic maverick running against Philadelphia's old political machine. He didn't win the most votes, but his grit put him on the path to a top job in the White House. As a speechwriter for President Carter, Matthews witnessed the triumphs and tragedies of that administration; from the diplomatic brilliance of the Israeli-Egyptian peace treaty to the disaster of the Iran hostage crisis. After Carter's defeat, Chris became chief of staff to legendary Speaker of the House Tip O'Neill, a perch that gave him an on-the-job PhD in American politics during the Reagan years.Chris then leapt to the other side of the political matrix as a columnist and reporter. For the San Francisco Examiner, he covered the fall of the Berlin Wall, the first all-races election in South Africa, the Good Friday Agreement in Northern Ireland, and every American presidency from Reagan to George W. Bush. Chris would go on to pioneer cable news with a fast-paced, no-nonsense television program. His show, Hardball with Chris Matthews, would become a political institution for twenty years.As Chris charts his political odyssey, he paints an energetic picture of a nation searching for its soul. He reflects with grace and wisdom, showcasing the grand arc of the American story through one life dedicated to its politics.A sweeping memoir of American politics and history from Chris Matthews, New York Times bestselling author and former host of MSNBC's Hardball with Chris Matthews.

    Longtime skateboard artist Sean Cliver put together this staggering survey of over 1,000 skateboard graphics from the last 30 years, creating an indispensable insiders' history as he did so.Alongside his own history, Sean has assembled a wealth of recollections and stories from prominent artists and skateboarders such as: Andy Howell, Barry McGee, Ed Templeton, Steve Caballero, and Tony Hawk.The end result is a fascinating historical account of art in the skateboard subculture, as told by those directly involved with shaping its legendary creative face.

    True Christianity involves a sight of the majesty of God and calls for a godly life.

    Routledge is an imprint of Taylor & Francis, an informa company.

    The book covers standard cultural anthropology topics with special attention given to issues of concern to Christians, such as cultural relativism, evolution, and missions.This concise yet solid introduction represents the authors' years of experience in the classroom and offers a fresh, contemporary approach. Each chapter includes objectives, text boxes, terms, and discussion questions. In addition, plentiful maps, photos, and sidebars are sprinkled throughout the text.Resources for professors using this text are available through Baker Academic's Textbook eSources. These resources include active learning exercises, discussion questions, crossword puzzles, PowerPoint outlines, case study videos, an annotated list of suggested ethnographic films, relevant internet resources, and a test bank.

    Since fieldwork is situated, Raybeck's treatment also includes rich descriptions of Kelantanese society and culture, addressing such topics as kinship, linguistics, gender relations, economics, and political structures. Through the lively pages of this narrative, readers gain insight into the human dimension of the fieldwork undertaking, a sense of how the anthropologist builds rapport in a research setting, and how reliable information is obtained.

    He noted their general healthiness (and good teeth), and an absence of many of the diseases that plagued western cultures, such as scurvy, heart disease, and diabetes. Observing their dietary habits, he determined that their primary food was meat, both lean and fatty, and that their diets were very low in sugary or starchy carbohydrates. Was this meaty diet the key to their good health?The book chronicles a 1928 scientific experiment, conducted by the Russell Sage Institute of Pathology at Bellevue Hospital in New York, in which Stefansson and his colleague Dr. Karsten Andersen ate a meat-only diet for one year. The two men stayed healthy and fared very well, leading him to claim that we should reexamine our notion of what foods constitute a healthy diet.Later chapters promote the benefits of pemmican, a compact, portable, and high-energy food consisting of a concentrated mix of fat and protein made from dried lean bison meat, sometimes mixed with berries. Pemmican is like the original energy bar, and Stefansson spent considerable time and energy urging the military to adopt it for emergency rations.

    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.