THE STORY: Everyone has a bad day. Graduate student Ian Nash has lost his girlfriend in addition to being dropped from a Ph.D. program in theatre at a Southern California university. When he stops at a local coffee shop in the lobby of a bank to apply for a job, the proverbial organic matter hits the fan. A gang of four robs the bank, and things get bloody. Ian is taken hostage by the robbers when the police show up. Now he has to save his life. FBI Special Agent Aleece Medina's analysis of the bloody bank heist drives her into the pursuit of a robbery gang headed by two women. She doesn't anticipate how this robbery will pit her against both the bandits and the male higher-ups in the FBI while the media heats up during a giant manhunt. The robbers are about to kill Ian, and all he has at hand is his knowledge of the stage. EARLY REVIEWERS SAY: "Ian Nash is not an easily defeated man. He is a winner in spite of himself, and we love him for that." - Sam Sattler, Book Chase "Author Christopher Meeks synthesizes all with elan in this most recent narrative triumph. He unfailingly entertains " - Gerald Locklin, author of The Vampires Saved Civilization

In this volume, the author argues that blood was, crucially, a means by which dramatists negotiated shifting contours of domesticity in 16th and 17th century England. Early modern English drama vividly addressed contemporary debates over an expanding idea of "the domestic," which encompassed the domus as well as sex, parenthood, household order, the relationship between home and state, and the connections between family honor and national identity. The author contends that the domestic ideology expressed by theatrical depictions of marriage and household order is one built on the simultaneous familiarity and violence inherent to blood. The theatrical relation between blood and home is far more intricate than the idealized language of the familial bloodline; the home was itself a bloody place, with domestic bloodstains signifying a range of experiences including religious worship, sex, murder, birth, healing, and holy justice. Focusing on four bleeding figures—the Bleeding Bride, Bleeding Husband, Bleeding Child, and Bleeding Patient—the author argues that the household blood of the early modern stage not only expressed the violence and conflict occasioned by domestic ideology, but also established the home as a site that alternately reified and challenged patriarchal authority.

'The book THE BLOOD SORROW is written about the story of the author in the period of pandemic. The author has mentioned how the world had to suffer and how she and her family suffered and survived in this situation of pandemic. It was ofcourse not easy for anybody to survive but whoever has fought are warriors. And therefore author mentions a lot of things about herself. If this book have left an imprint on your mind, you are requested to learn something from the book and act towards the betterment of self. We all have suffered but nature and karma could not be stopped. But fighting through the hard time and coming out stronger is what warriors do. This book is hence dedicated to all those warriors who have suffered still survived till end.

In this volume, the author argues that blood was, crucially, a means by which dramatists negotiated shifting contours of domesticity in 16th and 17th century England. Early modern English drama vividly addressed contemporary debates over an expanding idea of "the domestic," which encompassed the domus as well as sex, parenthood, household order, the relationship between home and state, and the connections between family honor and national identity. The author contends that the domestic ideology expressed by theatrical depictions of marriage and household order is one built on the simultaneous familiarity and violence inherent to blood. The theatrical relation between blood and home is far more intricate than the idealized language of the familial bloodline; the home was itself a bloody place, with domestic bloodstains signifying a range of experiences including religious worship, sex, murder, birth, healing, and holy justice. Focusing on four bleeding figures—the Bleeding Bride, Bleeding Husband, Bleeding Child, and Bleeding Patient—the author argues that the household blood of the early modern stage not only expressed the violence and conflict occasioned by domestic ideology, but also established the home as a site that alternately reified and challenged patriarchal authority.

Hakeem and Savon are cousins who do not get along at first but work things out.

The invocation of blood-as both an image and a concept-has long been critical in the formation of American racism. In Blood Work, Shawn Salvant mines works from the American literary canon to explore the multitude of associations that race and blood held in the consciousness of late nineteenth- and early twentieth-century Americans. Drawing upon race and metaphor theory, Salvant provides readings of four classic novels featuring themes of racial identity: Mark Twain's Pudd'nhead Wilson (1894); Pauline Hopkins's Of One Blood (1902); Frances Harper's Iola Leroy (1892); and William Faulkner's Light in August (1932). His expansive analysis of blood imagery uncovers far more than the merely biological connotations that dominate many studies of blood rhetoric: the racial discourses of blood in these novels encompass the anthropological and the legal, the violent and the religious. Penetrating and insightful, Blood Work illuminates the broad-ranging power of the blood metaphor to script distinctly American plots-real and literary-of racial identity.

Chris Anyokwu's new creative offerings are snapshots of a the quotidian reality in the playwrights homeland, Nigeria, where polygamy and its associated evils, crass materialism and its classless followers still predominate. Even the ivory towers are not left out as petty rivalry, dirty politics and even fetishism seem to be the name of the game.

A striking new ensemble drama based on the Jena Six; six Black students who were initially charged with attempted murder for a school fight after being provoked with nooses hanging from a tree on campus. This bold new play by Dominique Morisseau (Sunset Baby, Detroit '67, Skeleton Crew) examines the miscarriage of justice, racial double standards, and the crises in relations between men and women of all classes and, as a result, the shattering state of Black family life.

Civilization seems to move ever more toward the power of words over weapons. But many people, especially Americans, still believe wrongs in life can be righted with a fist or a gun or a bomb. Cultural mythology lags reality and continues to send the message of regeneration through violence. But the transition to a healthier mythology is already underway and can be seen in the strength of an alternative trend in depictions of violence in storytelling. This book examines this trend by comparing examples drawn from film and television with the traditional popular dramatic approach--reflecting and promoting a culture of violence. This comparison shows that attitudes toward conflict in drama are a key indicator of a shift in awareness of violence in society. The book concludes with an account of increasing challenges confronting the individual in today's world and the necessity for individual producers and consumers to take greater responsibility for their choices--which shape culture through omnipresent and profoundly influential screen technology.

The first extended study of relics of the Holy Blood: portions of the blood of Christ's passion preserved supposedly from the time of the Crucifixion and displayed as objects of wonder and veneration in the churches of medieval Europe. Inspired by the discovery of new evidence relating to the relic deposited by King Henry III at Westminster in 1247, the study proceeds from the particular political and spiritual motives that inspired this gift to a wider consideration of blood relics, their distribution across western Europe, their place in Christian devotion, and the controversies to which they gave rise among theologians. In the process the author advances a new thesis on the role of the sacred in Plantagenet court life as well as exploring various intriguing byways of medieval religion.