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"Most young playwrights nowadays want to learn 'how to' write a play. This seems to me to be a mistake." Thus begins the first chapter of Walter Kerr's fascinating book on the art of playwriting. Taking an about-face look at the creative process, with chapters such as "How to Spoil a Good Story," Mr. Kerr leads us through the exciting and daring adventure of successfully bringing a play to fulfillment. "There is no point in pretending that this is not going to be an argumentative book or that overemphasis isn't going to crop up pretty frequently in the chapters that follow. The face of our theater is so familiar to us that we shall never see its features without blowing them up a bit, one by one. And it does seem to me that we had better do some arguing - quick." Walter Kerr, drama critic, playwright, teacher, director, and winner of a Pulitzer Prize for Drama Criticism, served as drama critic for the New York Herald Tribune and was chief critic for the Sunday New York Times until his retirement. -- from back cover
Jeffrey Hatcher knows the nuts and bolts of writing for the theater. Here, he shares his views on it all--from building tension and plotting a scene, right down to moving a character from one side of the stage to the other. From crafting an intriguing beginning to delivering a satisfying ending. In Hatcher's one-on-one discussions with acclaimed American playwrights Lee Blessing, Marsha Norman and Jose Rivera, you'll find a wealth of practical advice, tricks of the trade and insight that will help you in your own creative efforts.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
"'Zooman" is black teen in Philadelphia who senselessly terrorizes his community wit hour regard to race. His most recent crime is killing a 12 year-old girl on a street filled with witnesses, all of who are afraid to talk.The dead girl's father posts a sign accusing the entire community of cowardice in the face of the ever escalating violence." -- Cover [p. 4].
Teresa's mum finds it impossible to let anything go--from grudges to household objects. She thinks of her home as a museum full of irreplaceable treasures. But she's not really a curator, she's a hoarder. When her kids return home to celebrate her 60th birthday, she's over the moon to have the family back together. But this isn't a reunion. It's an intervention.Celebrated TV writer Benjamin Law (The Family Law) is one of this country's brightest literary stars. For his hysterically funny and moving playwriting debut, Law employs his effortless wit to spark joy in the clutter and find truth in those chaotic moments that bring families closer.Commissioned through MTC's NEXT STAGE Writers' Program with the support of our Playwrights Giving Circle Donors, The Ian Potter Foundation, Naomi Milgrom Foundation, The Myer Foundation, Malcolm Robertson Foundation and The University of Melbourne.
Winner of the National Book Award The publication of this extraordinary volume firmly established Flannery O'Connor's monumental contribution to American fiction. There are thirty-one stories here in all, including twelve that do not appear in the only two story collections O'Connor put together in her short lifetime--Everything That Rises Must Converge and A Good Man Is Hard to Find. O'Connor published her first story, "The Geranium," in 1946, while she was working on her master's degree at the University of Iowa. Arranged chronologically, this collection shows that her last story, "Judgement Day"--sent to her publisher shortly before her death—is a brilliantly rewritten and transfigured version of "The Geranium." Taken together, these stories reveal a lively, penetrating talent that has given us some of the most powerful and disturbing fiction of the twentieth century. Also included is an introduction by O'Connor's longtime editor and friend, Robert Giroux.