Comedy / Characters: 8 male, 12 female Scenery: Interior A Broadway hit about a liberal Congresswoman who returns to her old school as an honorary visitor. Since her wartime experiences in Europe, she has devoted herself to the task of acquainting people with the horrors of war. That is why she has brought a documentary with her to be shown to the young graduates. The movie is considered harsh and improper by the trustees, so she has a fight on her hands. The conflict exposes the president a

Presents a complete reference to the life and works of Walt Whitman.

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In Whitman East and West, fifteen prominent scholars track the surprising ways in which Whitman's poetry and prose continue to be meaningful at the beginning of the twenty-first century. Covering a broad range of issues—from ecology to children's literature, gay identity to China's May 4th Movement, nineteenth-century New York politics to the emerging field of normality studies, Mao Zedong to American film—each original essay opens a previously unexplored field of study, and each yields new insights by demonstrating how emerging methodologies and approaches intersect with and illuminate Whitman's ideas about democracy, sexuality, America, and the importance of literature. Confirming the growing international spirit of American studies, the essays in Whitman East and West developed out of a landmark conference in Beijing, the first major conference in China to focus on an American poet. Scholars from Asia, Europe, and North America set out to track the ways in which Whitman's poetry has become part of China's cultural landscape as well as the literary landscapes of other countries. By describing his assimilation into other cultures and his resulting transformation into a hybrid poet, these essayists celebrate Whitman's multiple manifestations in other languages and contexts.

Walt Whitman "is America," according to Ezra Pound. More than a century after his death, Whitman's name regularly appears in political speeches, architectural inscriptions, television programs, and films, and it adorns schools, summer camps, truck stops, corporate centers, and shopping malls. In an analysis of Whitman as a quintessential American icon, Kenneth Price shows how his ubiquity and his extraordinarily malleable identity have contributed to the ongoing process of shaping the character of the United States. Price examines Whitman's own writings as well as those of writers who were influenced by him, paying particular attention to Whitman's legacies for an ethnically and sexually diverse America. He focuses on fictional works by Edith Wharton, D. H. Lawrence, John Dos Passos, Ishmael Reed, and Gloria Naylor, among others. In Price's study, Leaves of Grass emerges as a living document accruing meanings that evolve with time and with new readers, with Whitman and his words regularly pulled into debates over immigration, politics, sexuality, and national identity. As Price demonstrates, Whitman is a recurring starting point, a provocation, and an irresistible, rewritable text for those who reinvent the icon in their efforts to remake America itself.

Joan Crawford's contribution to film noir during the 1940s and 1950s, though rarely discussed in its totality, is one of her most impressive and far-reaching career achievements. Several of her noir and noir-tinged efforts contain arguably her best acting work, and all bear her personal stamp. These aren't conventional film noirs, they are Joan Crawford noirs: highly distinctive films that extended the boundaries of noir content and brought added depth and dimension to the noir style. Unlike most actors who routinely adapted to the needs of particular film projects and directors, she approached each film, first and foremost, as a Joan Crawford vehicle, often exerting great control over multiple production functions and at times operating as a de facto producer. Examining these films as a collective and relatively cohesive body of work, this book highlights what Crawford aspired to achieve in her art, how--when the circumstances were right--she could deliver superb results, how she helped expand the possibilities for noir, and why the best of her efforts speak across the decades with such intensity and authority.

Chicago, 1949. She was a 24 year-old college graduate hoping for a career as an actress while waiting for Mr. Right. He was 35, 510, a medical student, handsome and smart. Soon he would leave for his internship in Brooklyn, but he didnt want to go alone. They met, and Bam! He was exactly what shed been waiting for. Now I know why Mama, Taught me to be true. She meant me for someone, Exactly Like You. It was a perfect match. Or was it? It doesnt take long to realize that The Promise at the Dairy Queen is more a commitment to self than any bond made with another human being. Although Dorothys memoirs take place firmly in an era of change, they come from the spirit of a girl-becomes-woman whos inner self is stronger than the definition of the times in which she lives. Hers is an inspirational story of identity vs social and family expectations. Dorothy is a double swirl with toppings in a special cone and reading her is just as satisfying. Lynn Rosen-Bright, Poet, Playwright.