Decades later, in What the Constitution Means to Me, she traces the effect that the Constitution has had on four generations of women in her family, deftly examining how the United States' founding principles are inextricably linked with our personal lives.

    Then her life was irreversibly transformed—and so was her philosophy. In this wholly unexpected personal account, the author of A Vindication of Love: Reclaiming Romance for the Twenty-first Century (2009) offers us a Vindication of Life as inspiring as it is heartbreaking. The story of Cristina and her little daughter, Eurydice, is a tale of redemption and self-reinvention. It is about expanding definitions of love--and it is about confronting death. Not least, it speaks to us of life’s sweeping ironies: Sometimes bad luck is the new good luck, and the realization of your worst fears may be the greatest gift you can receive.Biography: Nehring first acquired national attention through her fiery criticism in the pages of Harper's Magazine, The Atlantic Monthly and The New York Times Book Review. A "compassionate contrarian," she won many awards for her politically incorrect cultural and literary essays. Her first book, A Vindication of Love (Harper Collins, 2009) argues for a bolder, braver, wilder form of modern loving, drawing extensively on literary and historical analysis. It was published to wide acclaim and translated into several languages. Nehring also works as a travel writer for Condé Nast Traveler, and holds a Ph.D. in English from the University of California, Los Angeles. She lives in Paris and Los Angeles.

    From high-class hookers to 7/7 survivors these monologues paint a revelatory picture of Britain as it is today. After rave reviews at the 2008 Edinburgh Festival and in New York, "Eight" opened in London's West End in July 2009.

    In Arden's introductory note to the text, he describes it as "a realistic, but not a naturalistic" play. The work follows three privates in the British Army and their sergeant, all of whom are deserters from a foreign imperialist war. Serjeant Musgrave and his men, Hurst, Sparky and Attercliffe, come to a northern English coal mining town in 1879. The community is in the grip of a coal strike and cut off by winter snow. The one means of reaching the town is by canal barge. They arrive in the company of the Bargee, a foul-mouthed, disrespectful individual who teases and abuses everyone, especially those in authority. In the local inn the soldiers meet Mrs. Hitchcock, who runs the inn, and the barmaid Annie. The soldiers are greeted by the mayor, parson and constable, who ask them to recruit men in hopes of alleviating some of the town's unemployment as a way to rid the town of their economic dead weight. Musgrave pretends that this is indeed his goal, and asks Mrs. Hitchcock about Billy Hicks, a dead fellow soldier from the mining town. It is revealed that Billy was the father of Annie's illegitimate child, but the baby died, and Annie's sanity has suffered from the loss of both Billy and her child.

    He works intermittently as a barker for a merry go round and many servant girls fall victim to his charms. Among these girls is Julie, whom he eventually marries. Learning that he is about to become a father Liliom participates in a robbery to enhance his fortunes. But he is caught and stabs himself rather than submit to arrest. He is tried in the Magistrate's court on high, but they see through him there. They know what repentance is in his heart though he is much too cocky to admit it. He is sentenced to a term of years in the purifying fires with the promise that after that sentence has been served he can go back to earth with a chance to do one good deed there. A tender and moving story told with a master's touch.

    Each year, the series editor and guest editor curate a truly exceptional collection. The only shared traits among all these diverse styles, voices, and stories are the extraordinarily high caliber of writing, and the pure passion they tap into that can only come from sports.

    Arguing from within the sensibility of devout liberal Hindus who do not believe in exclusive religious nationalism, Juluri argued that these writers had turned their crusade against Hindutva into an egregiously misplaced existential attack on popular Hinduism. Widely read and commented on by lay readers and academics, this important review essay is essential reading for who anyone who cares for both Hinduism and secularism today.

    

    The first part of what has come to be known as the Mercer Series, Leaving Home tells the story of a Newfoundland family that has emigrated and lost all sense of its place in the world.Leaving Home was named one of the "100 Most Influential Canadian Books" by the Literary Review of Canada.

    The ghost of a young murdered girl flits through every scene linking the pain and anguish of all the characters struggling to cope with urban life.

    What Rebecca Gilman makes of this familiar scenario is something startlingly real and compelling, delving deeply into the small space that can divide a feeling of hope from one of hopelessness, as Curt and Sandy both try to get a foothold in the American dream of a house, a job, a life, a relationship with another human being.Gilman's previous play, Boy Gets Girl, was acclaimed by Time magazine as the best play of 2000, saying that "with Spinning into Butter, her play about race relations on campus, Rebecca Gilman gave notice that she was a playwright to watch. And with this intense drama of a woman's encounter with a stalker, she became one to hail . . . It's not just a gripping play but also an important one." Marked by Gilman's characteristically sharp delineation of character, pitch-perfect dialogue, and effortless use of humor that is both biting and silly, Blue Surge is a worthy successor to these plays--an intimate look at the class struggle in America today as well as a brilliant example of the dramatic craft from one of today's most accomplished practitioners. It will have its world premiere at the Goodman Theatre in Chicago in the spring of 2001.

    

    From subway panhandlers to barbecue-crazed millionaires. Bogosian reveals the hidden humor, fear, hypocrisy and rage of Americans - including, for the first time, "Eric Bogosian," a hyperaggressive standup comic. With this seductive element of self-revelation, he heightens the disturbing connections between his characters and, by extension, between us and the people we try not to see - and not to be - every day.

    He enlists the aid of his lifelong buddy, Aldo Scalicki, a confirmed bachelor who tries, without apparent success, to convince Huey that he would be better off sticking with his new lady friend, Teresa, a usually placid young waitress whose indignation flares when she learns what Huey is up to. In a moonlit balcony scene (hilariously reminiscent of Cyrano de Bergerac) Aldo pleads his lovesick friend's case and, to his astonishment, Janice capitulates although not for long. However we do learn that her earlier abuse of Huey was intended to make him "act like a man" which, at last, he does. And, more than that, he (and the audience) become aware that, in the final essence, "the greatest and only success is to be able to love" a truth which emerges delightfully from the heartwarming, wonderfully antic and always imaginatively conceived action of the play.

    If we really do get the government we deserve, On Mutiny might provoke a civilian rebellion.