This volume contains the best of David Edgar's work from the 1970s. The Jail Diary of Albie Sachs is an adaptation of the famous South African writer's diaries and deals with solitary confinement and loneliness - "a remarkable, persuasive picture." (Observer) Mary Barnes is based in a commune in the sixties and focuses on schizophrenia "promulgating the theory that schizophrenia can be effectively treated through behaviourist methods alone" Saigon Rose tackles venereal disease and is "intriguing and entertaining...Edgar handles his themes - loss of innocence and a sense of betrayal - in a bitty, playful style laced with black comedy" (Independent) O Fair Jerusalem deals with the black death. Destiny deals with the loss of Empire and the rise of fascism in contemporary Britain - "A play which astonished me with its intelligence, density, sympathy and finely controlled anger." Dennis Potter, The Sunday Times

An Oprah's Book Club Pick A #1 New York Times Bestseller A National Bestseller Beautifully written and elegantly paced, The Story of Edgar Sawtelle is a coming-of-age novel about the power of the land and the past to shape our lives. It is a riveting tale of retribution, inhabited by empathic animals, prophetic dreams, second sight, and vengeful ghosts. Born mute, Edgar Sawtelle feels separate from the people around him but is able to establish profound bonds with the animals who share his home and his name: his family raises a fictional breed of exceptionally perceptive and affable dogs. Soon after his father's sudden death, Edgar is stunned to learn that his mother has already moved on as his uncle Claude quickly becomes part of their lives. Reeling from the sudden changes to his quiet existence, Edgar flees into the forests surrounding his Wisconsin home accompanied by three dogs. Soon he is caught in a struggle for survival—the only thing that will prepare him for his return home.

David Edgar's Trying It On is an autobiographical play, written to be performed by its author. It was first performed at Warwick Arts Centre on 7 June 2018, at the beginning of a tour which included dates at the Birmingham Repertory Theatre; the Midlands Arts Centre, Birmingham; the Royal Shakespeare Company's Other Place Theatre, Stratford-upon-Avon; and the Royal Court Theatre Upstairs, London. It was commissioned by Warwick Arts Centre and produced by China Plate theatre studio. The play is performed on a set designed to look like a study, full of clutter, with a stage manager's table to the side. David addresses the audience directly, reflecting on the journey he's taken from the twenty-year-old of 1968, experiencing worldwide student revolt and being immersed in radical politics, to the seventy-year-old of today. He wants to know if those two Davids share the same beliefs, and if not, whether it is the world that's changed, or him. He conducts straw polls to find out the audience's position on certain topics. He presents video testimony from several authors and political commentators. And as his delves deeper into his own history, and the apparently deepening rift between generations today, the Stage Manager, a young woman called Danni, steps in to challenge his perspective.

Many people would be surprised to hear that a playful attitude towards God and the world lies at the heart of Christian faith. Traditionally Christians have focused on the serious responsibilities of service, sacrifice, and commitment. But the prophets say that the future kingdom is full of people laughing and playing, which has implications for Christians who are called to live out the future kingdom in the present. Play is not trivial or secondary to work and service—only a playful way of living does justice to the seriousness of life! Play is the essential and ultimate form of relationship with God, which is why Jesus told people to learn from children. Indeed, a playful attitude is an important part of all significant relationships. This book explores grace, faith, love, worship, redemption, and the kingdom from the perspective of a playful attitude. It describes how to create a “play ethic” to match the “work ethic” and discusses play as a virtue, Aquinas’s warning against the sin of not playing enough, and Bonhoeffer’s claim that in a world of pain it is only the Christian who can truly play.

The most controversial and newsworthy plays of British theatre are a rash of rude, vicious and provocative pieces by a brat pack of twentysomethings whose debuts startled critics and audiences with their heady mix of sex, violence and street-poetry. In-Yer-Face Theatre is the first book to study this exciting outburst of creative self-expression by what in other contexts has been called Generation X, or Thatcher's Children, the 'yoof' who grew up during the last Conservative Government. The book argues that, for example, Trainspotting, Blasted, Mojo and Shopping and F**king are much more than a collection of shock tactics - taken together, they represent a consistent critique of modern life, one which focuses on the problem of violence, the crisis of masculinity and the futility of consumerism. The book contains extensive interviews with playwrights, including Sarah Kane ( Blasted), Mark Ravenhill (Shopping and F**king), Philip Ridley (The Pitchfork Disney), Patrick Marber (Closer) and Martin McDonagh (The Beauty Queen of Leenane).

Nine short essays exploring the K’iche’ Maya story of creation, the Popol Vuh. Written during the lockdown in Chicago in the depths of the COVID-19 pandemic, these essays consider the Popol Vuh as a work that was also written during a time of feverish social, political, and epidemiological crisis as Spanish missionaries and colonial military deepened their conquest of indigenous peoples and cultures in Mesoamerica. What separates the Popol Vuh from many other creation texts is the disposition of the gods engaged in creation. Whereas the book of Genesis is declarative in telling the story of the world’s creation, the Popol Vuh is interrogative and analytical: the gods, for example, question whether people actually need to be created, given the many perfect animals they have already placed on earth. Emergency uses the historical emergency of the Popol Vuh to frame the ongoing emergencies of colonialism that have surfaced all too clearly in the global health crisis of COVID-19. In doing so, these essays reveal how the authors of the Popol Vuh—while implicated in deep social crisis—nonetheless insisted on transforming emergency into scenes of social, political, and intellectual emergence, translating crisis into creativity and world creation.

Meet Edgar and Allan Poe -- twelve-year-old identical twins, the great-great-great-great-grandnephews of Edgar Allan Poe. They look and act so much alike that they're almost one mischievous, prank-playing boy in two bodies. When their beloved black cat, Roderick Usher, is kidnapped and transported to the Midwest, Edgar and Allan convince their guardians that it's time for a road trip. Along the way, mayhem and mystery ensue, as well as deeper questions: What is the boys' telepathic connection? Is Edgar Allan Poe himself reaching out to them from the Great Beyond? And why has a mad scientist been spying on the Poe family for years? With a mix of literary humor, mystery, a little quantum physics, and fun extras like fortune cookie messages, letters in code, license plate clues -- and playful illustrations thoughout -- this series opener is a perfect choice for smart, funny tweens who love the Time Warp Trio, Roald Dahl, and Lemony Snicket.

A new play about biblical translation from a top UK playwright, marking the King James Bible's 400th Anniversary.

Eight-year-old Edgar Fini's loyalty is torn between the two women in his life. There's his mother, Lucy, who, though she has moments where she loves him, mostly disappears at night with her various 'suitors'. And then there's his grandmother, Florence, who dotes on him to the point where she is at a loss when he isn't around. Since his father's suicide, Florence and Edgar's relationship has become obsessive, each fully dependent on the other. When Florence suddenly dies, Lucy is thrown into the role of main caretaker and doesn't know how to handle her new job. But as Edgar and Lucy adjust, they must also deal with Ron, a local butcher who wants to court Lucy, and Conrad, an unsettlingly attentive adult whose intentions are at one more sinister and more innocent than Edgar could ever know.