The first book-length study of the notion of place and its implications in modern drama

Gertrude Stein was at heart an artist's writer. She became well-known to the literary mainstream with "The Autobiography of Alice B. Toklas," and was at her most accessible with her speech and autobiographical writing of her later years. It is with collections such as "Geography and Plays," however, that Stein showcased the possibilities of the English language to transcend beyond literature into the realm of modern art. The page was her canvas, and as the Cubist painters of her time treated their subjects, Stein re-assembled words in an abstracted form to present them in a greater context, a context un-tethered by a singular viewpoint. This modern edition contains a massive collection of over 50 different works by Gertrude Stein. In addition to the daring and cheeky "Miss Furr and Miss Skeene," this revitalized edition contains many of her most radical and influential works. There is "Ada," one of Stein's many word portraits of famous personages, this one written of Alice B. Toklas. There is "Every Afternoon: A Dialogue," a conversation between two unnamed people highlighting the writer's playful, often humorous style. Also included is "Sacred Emily," in which the reader finds Stein's most often quoted line, "Rose is a rose is a rose is a rose," a line that employs her trademark use of repetitive language to express that things are what they are, but at the same time, so much more. In Stein's view, the simple naming of a thing already invokes the imagery and emotions associated with it-the writer does not need to manipulate the word any further.

Russel Middlebrook is convinced he's the only gay kid at Goodkind High School. Then his online gay chat buddy turns out to be none other than Kevin, the popular but closeted star of the school's baseball team. Soon Russel meets other gay students, too. There's his best friend Min, who reveals that she is bisexual, and her soccer–playing girlfriend Terese. Then there's Terese's politically active friend, Ike. But how can kids this diverse get together without drawing attention to themselves? "We just choose a club that's so boring, nobody in their right mind would ever in a million years join it. We could call it Geography Club!" Brent Hartinger's debut novel, what became first of a series about Russel Middlebrook, is a fast–paced, funny, and trenchant portrait of contemporary teenagers who may not learn any actual geography in their latest club, but who learn plenty about the treacherous social terrain of high school and the even more dangerous landscape of the human heart.

Focusing on early modern plays which stage encounters between peoples of different cultures, the volume explores the ways in which early modern plays stage dramatic geography and how this has shaped literary and theatrical heritage.

Presents a collection of Gertrude Stein's works, revealing a wide range of styles that she used throughout her works.

This book focuses on the theme of the mutually constitutive relations between geographic space and the economic order. Three principle lines of investigation are identified and explored. First, Allen J. Scott sketches out the general theory of the division of labour and the ways in which it is reflected in geographic patterns of specialization and interaction. He examines, in particular, the role of the division of labour in the formation of large-scale agglomerations of economic activity and the ways in which their internal and external relationships are played out. Second, he considers the structure of geographic space as a fountainhead of creativity, learning, and innovation. A theory of the creative field is presented, and its application to the investigation of entrepreneurship, technological change, and the dynamics of the cultural economy is considered. Third, he offers an account of the regional question in less developed parts of the world. Here, he recovers some of the arguments of high development theory and shows how they can be revitalized in the light of a specifically geographic approach. These three lines of investigation are, of course, tightly intertwined with one another. The argument in general demonstrates that geographic space is not just an inert dimension in which the economy unfolds, but plays an active role in the eventuation of economic outcomes. This state of affairs raises many difficult policy questions about growth and development in both more and less economically advanced countries. Some of the more important of these questions are also broached in the book.

Lucy lives on the twenty-fourth floor. Owen lives in the basement. It's fitting, then, that they meet in the middle -- stuck between two floors of a New York City apartment building, on an elevator rendered useless by a citywide blackout. After they're rescued, Lucy and Owen spend the night wandering the darkened streets and marveling at the rare appearance of stars above Manhattan. But once the power is back, so is reality. Lucy soon moves abroad with her parents, while Owen heads out west with his father. The brief time they spend together leaves a mark. And as their lives take them to Edinburgh and to San Francisco, to Prague and to Portland, Lucy and Owen stay in touch through postcards, occasional e-mails, and phone calls. But can they -- despite the odds -- find a way to reunite? Smartly observed and wonderfully romantic, Jennifer E. Smith's new novel shows that the center of the world isn't necessarily a place. Sometimes, it can be a person.

First published in Great Britain in 2015 by Elliott and Thompson Limited.

A two act play set in the Victorian 19th century, first presented in 1985