Over the centuries, English words have drifted from their original purposes and acquired vastly different meanings. Consider the word "bad," which today means "great." Or "tryst," now a romantic liaison, in the England of 500 years ago meant "a fair for black cattle, horses, and sheep." Author Jeffrey Kacirk, a man intrigued by words, has sifted through mountains of discarded meanings to arrive at the almost 1,500 entries in this fascinating romp through the ever-changing world of lexicography. His goal is to "leave the reader with a sense of where many modern usages may have come from, or in some cases, have strayed". Study the altered meanings in this fun book and you'll be able to "razzle-dazzle" (originally, a daylong drinking bout) your friends and acquaintances. Kacirk has collected current words and provided earlier definitions and their sources alphabetically, beginning with abandon ('to banish, to drive away' --John Phin, 1902) and ending with a zig-zag ('drunk' --Edward Fraser and John Gibbons, 1925). Kacirk's book is a flip-through find, perfect for everyone from lay word nerds to top-dollar scholars.

'Theatre as Alter/“Native” in Derek Walcott' attempts a close and detailed politico-aesthetic analysis of his major plays. At the core of this book lies the attempt to answer the question of how postcolonial artists and intellectuals have dared to imagine radically different ways of living in the face of oppositional, binary choices. And as the title suggests, Walcott’s plays carve out critical spaces for new narratives of “becoming” and alternative priorities, entangled in contesting identities inscribed by race, language and ethnicity. Theatre, as Walcott knew, would be instrumental in demystifying Caribbean “Absence” and “Void” and generating an alternative version of dominant reality. By a deliberate unseating of the Western texts, filled with banal stereotypes and their representational biases, and by triggering “re-action” to the scripts of the colonizers in profoundly paradoxical ways, Walcott’s plays affirm the Caribbean identity. This study seeks to demonstrate how his plays open an alter/“native” universe in terms of aesthetics, dramaturgy and the performative, and reclaims ‘New World’ identity in terms of negotiation rather than negation—undermining the claim of “solid”, “authentic” culture. Placing the arts at the forefront of nation-building, Walcott situated his plays at a crucial juncture between the passing of the Empire and the newly-born Federation in his archipelago.