These four constant companions become one in this brilliantly witty, time-jumping, loving tribute (and cautionary tale) dedicated to the people-and machines-upon which we all depend.

    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.

    Hairspray (978-1-5578-3514-7); Rent (978-1-5578-3737-0); Fiddler on the Roof (978-0-8791-0136-7)

    

    The subtle musings of Toni Cade Bambara, Henry Dumas, and Harryette Mullen are bracketed by the profane and often loud ruminations of Langston Hughes, Darius James, Wanda Coleman, Tish Benson, Steve Cannon, and Hattie Gossett. Some of the funniest writers don't write, so included are selections from well-known yet unpublished wits Lightnin' Hopkins, Mike Tyson, and the Reverend Al Sharpton. Selections also come from public figures and authors whose humor, although incisive and profound, is often overlooked: Malcolm X, Suzan-Lori Parks, Zora Neale Hurston, Sojourner Truth, and W.E.B. Dubois. Groundbreaking, fierce, and hilarious, this is a necessary anthology for any fan or student of American writing, with a huge range and a smart, political grasp of the uses of humor.

    Hailing from New York and raised by a junkie mother, she had to learn early how to use her beauty to her advantage. Tasha thinks she's seen it all on the streets of New York, but when she follows a childhood friend to the little city of Flint, Michigan, she realizes that sometimes the smallest cities breed the grimiest of individuals. When Tasha and her friends link up with Manolo, one of Flint's known stick-up kids, they take the hustlers of Flint for all they're worth. Any man who falls for a pretty face is a target, and under the guidance of Manolo, the girls quickly learn the game of manipulation and deceit. They become known as The Manolo Mamis, and their skills gain them thousands of dollars in no time. Tasha is living the life of the young and fly, but when tragedy strikes and the stakes are raised, she has to choose between loyalty and self-sacrifice. When the only man she's ever loved becomes her target, will she decide to save him, or will she remain loyal to The Manolo Mamis?

    Her characters suffer and survive against the enormous weight of the times with a dignity that inspires. Her work challenges the audience and reader to reexamine the conflicts and meaning of our everyday lives through her singular, poetic imagery and language.Includes: One Flea SpareIn the Heart of AmericaSlaughter CityThe War BoysThe Trestle at Pope's Creek

    The first scene of the play is a conversation between two lovers, Tommy and Donna, who broke up some time earlier but who are obviously still attracted to each other. Donna is enraged because Tommy, a would-be artist, is now having an affair with her younger sister, but Tommy, stretched out on his recliner (which, apart from a refrigerator full of beer, comprises the entire furnishings of his spartan apartment), is seemingly unmoved by her harangue. In the second scene Donna visits her father, a once successful artist who stopped painting at the death of his wife, whom he had bullied and betrayed despite his professed love for her. Combative and complex (but also very funny) the father sits and drinks and eventually gives in to his daughter's demand that he force Tommy to marry her or beat him up. Then, in the third and final scene, the father and Tommy confront each other, with results that are sometimes menacing, sometimes antic, with a lively discussion about art and women eventually leading to a sort of tenuous truce—and a grudging recognition of the responsibility that love, in its various guises, imposes.

    The first play, Tughlaq, is a historical play in the manner of nineteenth-century Parsee theater. The second, Hayavadana was one of the first modern Indian plays to employ traditional theatrical techniques. In Naga-Mandala, the third play, Karnad turns to oral tales, usually narrated by women. This selected work of one of India's best known playwrights should attract the attention of students and scholars of comparative literature, or any reader interested in South Asian literature.

    A serial killer is on the loose in Detroit, murdering men and leaving her mark, and each of these women has a motive to kill. Simone, a sexual abuse survivor and advocate for young girls, has begun to heal her wounds over the past ten years, but she is still trying to reclaim her life. Her mother, Jessica, thinks it’s unhealthy for Simone to immerse herself into a world of pain and jaded love when she has yet to fully heal herself. A new, unexpected love interest only complicates things further. Ryan is willing to do whatever it takes to become a mother, even if it means betrayal. With her biological clock screaming and a shameful ten-year secret bubbling to the surface, Ryan is determined to get what she wants, but she may lose her husband—and her mind—in the process. Lauren, one of Detroit’s most prominent defense attorneys, redefines justice and seeks a way out of the career that has left her feeling trapped and torn. She can’t set her moral standards aside for a $400,000 salary, winning acquittal after acquittal for the demonstratively guilty. But how far will she go to rid Detroit of its criminal filth? As Lauren, Ryan, and Simone’s lives collide yet again, forcing them to deal with the tragedies of their pasts, the three women regretfully learn that no one is safe behind the thin shield of a Smoke Screen.

    The compilation is anchored by more of Collins’s short stories, which, striking and powerful in their brevity, reveal the ways in which relationships are both formed and come undone. Also collected here is the work Collins wrote for the screen and stage: the screenplay of her film Losing Ground, in which a professor discovers that the student film she’s agreed to act in has uncomfortable parallels to her own life; and the script for The Brothers, a play about the potent effects of sexism and racism on a midcentury middle-class black family. And finally, it is in Collins’s raw and prescient diaries that her nascent ideas about race, gender, marriage, and motherhood first play out on the page.Kathleen Collins’s writing brings to life vibrant characters whose quotidian concerns powerfully illuminate the particular joys, challenges, and heartbreaks rendered by the African-American experience. By turns empowering, exuberant, sexy, and poignant, Notes from a Black Woman’s Diary is a brilliant compendium of an inimitable talent, and a rich portrait of a writer hard at work.

    Theatergoers who have followed August Wilson’s career will find in Gem a touchstone for everything else he has written.”—Ben Brantley, The New York Times“Wilson’s juiciest material. The play holds the stage and its characters hammer home, strongly, the notion of newfound freedom.”—Michael Phillips, Chicago TribuneGem of the Ocean is the play that begins it all. Set in 1904 Pittsburgh, it is chronologically the first work in August Wilson’s decade-by-decade cycle dramatizing the African American experience during the 20th century—an unprecedented series that includes the Pulitzer Prize–winning plays Fences and The Piano Lesson. Aunt Esther, the drama’s 287-year-old fiery matriarch, welcomes into her Hill District home Solly Two Kings, who was born into slavery and scouted for the Union Army, and Citizen Barlow, a young man from Alabama searching for a new life. Gem of the Ocean recently played across the country and on Broadway, with Phylicia Rashad as Aunt Esther.Earlier in 2005, on the completion of the final work of his ten play cycle-surely the most ambitious American dramatic project undertaken in our history-August Wilson disclosed his bout with cancer, an illness of unusual ferocity that would eventually claim his life on October 2. Fittingly the Broadway theatre where his last play will be produced in 2006 has been renamed the August Wilson Theater in his honor. His legacy will animate the theatre and stir the human heart for decades to come.

    Its eleven "exhibits" undermine black stereotypes old and new, and return to the facts of what being black means. " Mr. Wolfe is the kind of satirist who takes no prisoners. The shackles of the past have been defied by Mr. Wolfe's fearless humor, and it's a most liberating revolt!" - Frank Rich, The New York Times; "Brings forth a bold new voice that is bound to shake up blacks and whites with separate-but-equal impartiality. True satire." - Jack Kroll, Newsweek.

     From Crispus' tender innocence to Ray Mortimer's near pure evil, to Rose's quiet determination, the characters in this book and their journeys showcase a world that is brimming with grace and meaning and showcases the talents of a writer at the top of his game.

    Set in Eatonville, Florida--Hurston's hometown and the inspiration for much of her fiction--this energetic and often farcical play centers on Jim and Dave, a two-man song-and-dance team, and Daisy, the woman who comes between them. Overcome by jealousy, Jim hits Dave with a mule bone and hilarity follows chaos as the town splits into two factions: the Methodists, who want to pardon Jim; and the Baptists, who wish to banish him for his crime.Included in this edition is the fascinating account of the Mule Bone copyright dispute between Hurston and Hughes that ended their friendship and prevented the play from being performed until its debut production at the Lincoln Center Theater in New York City in 1991--sixty years after it was written. Also included is "The Bone of Contention," Hurston's short story on which the play was based; personal and often heated correspondence between the authors; and critical essays that illuminate the play and the dazzling period that came to be known as the Harlem Renaissance.