A Critical Companion to one of Ireland's most famous, studied and controversial, playwrights, this provides a detailed exploration of O'Casey's oeuvre taking in his plays, autobiographical writing and essays. Special attention is paid to the Three Dublin Plays and the works in performance.

This book details the Irish socialistic tracks pursued by Bernard Shaw and Sean O’Casey, mostly after 1916, that were arguably impacted by the executed James Connolly. The historical context is carefully unearthed, stretching from its 1894 roots via W. B. Yeats’ dream of Shaw as a menacing, yet grinning sewing machine, to Shaw’s and O’Casey’s 1928 masterworks. In the process, Shaw’s War Issues for Irishmen, Annajanska, the Bolshevik Empress, The Tragedy of an Elderly Gentleman, Saint Joan, The Intelligent Woman’s Guide to Socialism and Capitalism, and O’Casey’s The Story of the Irish Citizen Army, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, and The Silver Tassie are reconsidered, revealing previously undiscovered textures to the masterworks. All of which provides a rethinking, a reconsideration of Ireland’s great drama of the 1920s, as well as furthering the knowledge of Shaw, O’Casey, and Connolly.

From his initial writings on imagination and memory, to his recent studies of the glance and the edge, the work of American philosopher Edward S. Casey continues to shape 20th-century philosophy. In this first study dedicated to his rich body of work, distinguished scholars from philosophy, urban studies and architecture as well as artists engage with Casey's research and ideas to explore the key themes and variations of his contribution to the humanities. Structured into three major parts, the volume reflects the central concerns of Casey's writings: an evolving phenomenology of imagination, memory, and place; representation and landscape painting and art; and edges, glances, and voice. Each part begins with an extended interview that defines and explains the topics, concepts, and stakes of each area of research. Readers are thus offered an introduction to Casey's fascinating body of work, and will gain a new insight into particular aspects and applications of Casey's research. With a complete bibliography and an introduction that at once stresses each of Casey's areas of research while putting into perspective their overarching themes, this authoritative volume identifies the overall coherence and interconnections of Edward S. Casey's work and his impact on contemporary thought.

However, these contemporary accounts are frequently amplified and put into modern perspective, particularly at crucial moments such as a major production, a final production, or a death. The authors have particularly done so with writers of some importance such as Edward Martyn, William Boyle, or T.C. Murray. Since the theater of these years was especially influenced by the state of the country, the authors give considerable space to the disruptive political events of the times. Always, however, this is done from the particular vantage point of the theater and its workers, for the Irish theater vigorously reacted to and quickly assimilated the turbulent political events of the day: the raids, the reprisals, the burnings, and the murders. These 1,800 days really break into two periods. The first comprises the violence of the Black and Tan War, the exhaustion that led to the treaty, and the bitterness occasioned by the treaty that led to the culminating ferocity of the civil war.

In Hate Cell, thirteen-year-old Casey Templeton has recently moved to the southeastern Alberta town of Richford. One night Casey seeks refuge from a snowstorm in an abandoned farmhouse and stumbles upon his nearly frozen, unconscious science teacher, Mr. Deverell. Casey attempts to revive his teacher and searches the house for something to make a fire. In the attic he makes a frightening discovery — an office filled with computers, a printer, and racist posters and flyers! Soon the RCMP and Casey’s hacker brother, Hank, get involved in the mystery, but it’s Casey who leads the investigation into a warped world where hate is marketed on the Internet and innocent people are preyed on by bigots and bullies. In Old Bones, while helping with a real dinosaur dig at the world-famous Royal Tyrrell Museum, Casey finds a piece of dinosaur tooth. Excited, he spends all afternoon looking for the rest of the tooth, but all he ends up getting is a nasty sunburn. Lying in his hotel room that night, trying to recover, he sees and hears two men in a nearby room planning a robbery of precious artifacts from the Tyrrell. As the summer comes to an end, Casey and his friend Mandy decide to relax and take a bicycle jaunt north of Drumheller. But on the road they accidentally meet up with the conspirators and soon find themselves in a grim situation. Casey has to use all his ingenuity and skills to escape so he can try to help thwart the planned heist. Can he do it? Includes Hate Cell Old Bones

This is a story of a young man from Chicago who becomes a copilot of a bomber in Europe during World War IIfrom training, to the assembly of his B-17 crew, the mens struggles after becoming prisoners of war, and the discovery some sixty years later of details his surviving family and fellow crew members never knew.

Amusing sequels and parodies of one of America's best-loved poems: Casey's Revenge, Why Casey Whiffed, Casey's Sister at the Bat, others.