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Two new plays by Nilo Cruz, the first Latino honored with a Pulitzer Prize for Drama.
“Beautifully strange… An opera star with a penchant for dramatic sorrow shows up at a doctor’s office, looking for her husband’s heart. Someone got it when he died—which means that somewhere, inside another person’s rib cage, a piece of her husband lives on… Thus begins a tantalizing correspondence in Nilo Cruz’s Exquisite Agony, a play about the human heart: its fumblings and yearnings, its bruises and scars, its generosity and viciousness.” —Laura Collins-Hughes, New York Times “Exquisite Agony is about a woman who finds life in death, in an atmosphere where poetic insights are the norm and women are the center. Cruz’s feminist view is one of the liberating aspects of his writing, as is a kind of magical realism that is not cloying but true to his characters, and to the fact of dispossession: sometimes we don’t know who we are because we don’t know where life has landed on our bodies, let alone in our hearts.” —Hilton Als, New Yorker “Exquisite Agony is explosive… As in several of Cruz’s previous works, drama ignites from the friction between the banal and the magical.” —Zachary Stewart, TheaterMania “Exquisite Agony entertains and enraptures… There’s rueful humor, Chekhovian reveries, and a sense of the mystical… Ravishing on all levels.” —Darryl Reilly, TheatreScene.net Nilo Cruz is a Cuban-American playwright and director, and the first Latino to win the Pulitzer Prize for Drama, for his play Anna in the Tropics. His other plays include Sotto Voce, Beauty of the Father, Two Sisters and a Piano, Lorca in a Green Dress, Dancing on Her Knees, and Night Train to Bolina.
Fifty Key Figures in Latinx and Latin American Theatre is a critical introduction to the most influential and innovative theatre practitioners in the Americas, all of whom have been pioneers in changing the field. The chosen artists work through political, racial, gender, class, and geographical divides to expand our understanding of Latin American and Latinx theatre while at the same time offering a space to discuss contested nationalities and histories. Each entry considers the artist’s or collective’s body of work in its historical, cultural, and political context and provides a brief biography and suggestions for further reading. The volume covers artists from the present day to the 1960s—the emergence of a modern theatre that was concerned with Latinx and Latin American themes distancing themselves from an European approach. A deep and enriching resource for the classroom and individual study, this is the first book that any student of Latinx and Latin American theatre should read.
"The words of Nilo Cruz waft from the stage like a scented breeze. They sparkle and prickle and swirl, enveloping those who listen in both specific place and time . . . and in timeless passions that touch us all."—The Miami Herald One of the United States' most-produced Cuban American writers, Nilo Cruz employs his signature poetic imagery and vivid language to tender and humorous effect in this pair of his newest works. The Color of Desire, set in 1960 Havana, revolves around a passionate romance between an American businessman and an out-of-work Cuban actress. As the relationship becomes a metaphor for their countries' ruptured love affair, Cruz artfully weds magical realism to a familial story that is touching, harrowing, and funny. In Hurricane, a damaged family—a fire-and-brimstone missionary; his wife, who he saved in more than the spiritual sense; and their adopted son, who seems to have materialized from the ocean—face a shocking crisis when a hurricane ravages their Caribbean town. A celebration of humility, generosity, and kindness, Cruz's play explores the nature of identity, faith, and the redemptive power of love. Nilo Cruz is the author of the Pulitzer Prize–winning Anna in the Tropics, as well as A Park in Our House, A Bicycle Country, Dancing on Her Knees, Night Train to Bolina, Two Sisters and a Piano, and other works.
This four-volume reference work surveys American literature from the early 20th century to the present day, featuring a diverse range of American works and authors and an expansive selection of primary source materials. Bringing useful and engaging material into the classroom, this four-volume set covers more than a century of American literary history—from 1900 to the present. Twentieth-Century and Contemporary American Literature in Context profiles authors and their works and provides overviews of literary movements and genres through which readers will understand the historical, cultural, and political contexts that have shaped American writing. Twentieth-Century and Contemporary American Literature in Context provides wide coverage of authors, works, genres, and movements that are emblematic of the diversity of modern America. Not only are major literary movements represented, such as the Beats, but this work also highlights the emergence and development of modern Native American literature, African American literature, and other representative groups that showcase the diversity of American letters. A rich selection of primary documents and background material provides indispensable information for student research.
“Exquisite, dreamlike… The poetry of Cruz’s writing is what those who love his work cite most often about his style, and Sotto Voce has that… It also contains passages that are realistic, whimsical, sensual and heartbreaking. Cruz may be that rarity, a poet of the stage, but he is first and foremost a dramatist.” —Christine Dolen, Miami Herald The millennium, New York City. Bemadette Kahn, an eighty-year-old German-born writer, spends her days in her apartment, trying to forget the past. Until Saquiel Rafaeli, a young Jewish-Cuban researcher, appears on her doorstep, forcing her to confront those haunted memories. He’s eager to learn about Bemadette’s long-lost lover, Ariel Strauss, who set sail in 1939 aboard the St. Louis, never to be seen again. With layered lyrical language and vibrant intimacy, Sotto Voce is an imaginative exploration of the power of memory, love and human connection. Nilo Cruz is the author of the Pulitzer Prize–winning Anna in the Tropics, as well as Beauty of the Father, Two Sisters and a Piano, Lorca in a Green Dress, Dancing on Her Knees, Night Train to Bolina and other works.
"The words of Nilo Cruz waft from the stage like a scented breeze. They sparkle and prickle and swirl, enveloping those who listen in both specific place and time ... and in timeless passions that touch us all."--The Miami Herald One of the United States' most-produced Cuban American writers, Nilo Cruz employs his signature poetic imagery and vivid language to tender and humorous effect in this pair of his newest works. The Color of Desire, set in 1960 Havana, revolves around a passionate romance between an American businessman and an out-of-work Cuban actress. As the relationship becomes a metaphor for their countries' ruptured love affair, Cruz artfully weds magical realism to a familial story that is touching, harrowing, and funny. In Hurricane, a damaged family-a fire-and-brimstone missionary; his wife, who he saved in more than the spiritual sense; and their adopted son, who seems to have materialized from the ocean-face a shocking crisis when a hurricane ravages their Caribbean town. A celebration of humility, generosity, and kindness, Cruz's play explores the nature of identity, faith, and the redemptive power of love. Nilo Cruz is the author of the Pulitzer Prize-winning Anna in the Tropics, as well as A Park in Our House, A Bicycle Country, Dancing on Her Knees, Night Train to Bolina, Two Sisters and a Piano, and other works.
With the intolerable deterioration of our moral fabric, bringing us to the point that right is wrong and wrong is right, a dire necessity exists not only to curtail such regress but to set things on the proper course. The heart, which governs morality of human thought and action, is summoned to act as the guide out of this rut and onto the path of righteousness and fair treatment of each other. In the pursuit of truth and justice, the Moral Code, which is comprised of the Last Six Commandments, the "Friend" Rule, the Golden Rule, and the "Spare the Rod Spoil the Child" Rule, is therefore proposed as the "just" Rule of the Land. This then is utilized as the foundation to achieving morally correct conclusions or courses of action to social problems, issues or difficulties that we encounter, especially in these morally trying times. An important application of this concept is in our governance. The good heart has guided us to an amazing conclusion that the ideal form of government is that which is based on the Moral Code, the ideal Rule of the Land, and Participative Democracy, the ideal form of democracy which completely satisfies the requirements, of the people, by the people and for the people; rather than the form of government based on the Legal Code, a flawed and harmful code set, and Representative Democracy, a faulty, dangerous and costly imitation of Participative Democracy. We, the people, are therefore urged, by this revelation, to wake up from this detrimental governmental slumber and empower ourselves by declaring independence of the current system and by instituting the ideal form of government. This land belongs to us and to no one else, and its future rests solely on our participation in this overwhelming but absolutely necessary endeavor. Wake Up! Rise Up! Participate!