"There is a war coming.... A war that will last for a hundred years.... I think it is already here. I think we've been fighting it a long time" A young Jewish physicist and an activist poet meet at a party and fall in love. As society splinters around them, the couple's struggle to survive erupts into violence. Cordelia Lynn's new play Love and Other Acts of Violence is a subversive and intimate love story about inheritance and the cycles of politics and history. It is premiered at the Donmar Warehouse, London, in October 2021.

A National Book Award Finalist offers an intense portrait of an abusive relationship. Johanna is steadfast, patient, reliable; the go-to girl, the one everyone can count on. But always being there for others can’t give Johanna everything she needs—it can’t give her Reeve Hartt. Reeve is fierce, beautiful, wounded, elusive; a flame that draws Johanna’s fluttering moth. Johanna is determined to get her, against all advice, and to help her, against all reason. But love isn’t always reasonable, right? In the precarious place where attraction and need collide, a teenager experiences the dark side of a first love, and struggles to find her way into a new light.

'Crushing...intensely vital' Observer 'It's impossible to tear yourself away' The Times 'Such brilliant writing about female desire...honest and visceral' Marian Keyes She's twenty-three and in love with love. He's older, and the most beautiful man she's ever seen. The affair is quickly consuming. But this relationship is unpredictable, and behind his perfect looks is a mean streak. She's intent on winning him over, but neither is living up to the other's ideals. He keeps emailing his thin, glamorous ex, and she's starting to give in to secret, shameful cravings of her own. The search for a fix is frantic, and taking a dangerous turn... We're all looking to get what we want - but do we know what we need?

At the beginning of senior year, Ann was a smiling, straight-A student with friends and a future. Then she met a haunted young man named Connor. Only she can heal his emotional scars; only he could make her feel so loved—and needed. Just one mistake could trigger Connor’s rage, a violent storm damaging everything—and everyone—in its path.

Something exciting is happening with the contemporary history play. New writing by playwrights such as Jackie Sibblies Drury, Samuel Adamson, Hannah Khalil, Cordelia Lynn, and Lucy Kirkwood, makes powerful theatrical use of the past, but does not fit into critics' familiar categories of historical drama. In this book, Benjamin Poore provides readers with tools to name and critically analyse these changes. The Contemporary History Play contends that many history plays are becoming more complex and layered in their aesthetic approaches, as playwrights work through the experience of being surrounded by numerous and varied forms of historical representation in the twenty-first century. For theatre scholars, this book offers a means of interpreting how new writing relies on the past and notions of historicity to generate meaning and resonance in the present. For playwrights and students of playwriting, the book is a guide to the history play's recent past, and to the state of the art: what techniques and formulas have been popular, the tropes that are widely used, and how artists have found ways of renewing or overturning established conventions.

A revolutionary memoir about domestic abuse by the award-winning author of Her Body and Other Parties In the Dream House is Carmen Maria Machado’s engrossing and wildly innovative account of a relationship gone bad, and a bold dissection of the mechanisms and cultural representations of psychological abuse. Tracing the full arc of a harrowing relationship with a charismatic but volatile woman, Machado struggles to make sense of how what happened to her shaped the person she was becoming. And it’s that struggle that gives the book its original structure: each chapter is driven by its own narrative trope—the haunted house, erotica, the bildungsroman—through which Machado holds the events up to the light and examines them from different angles. She looks back at her religious adolescence, unpacks the stereotype of lesbian relationships as safe and utopian, and widens the view with essayistic explorations of the history and reality of abuse in queer relationships. Machado’s dire narrative is leavened with her characteristic wit, playfulness, and openness to inquiry. She casts a critical eye over legal proceedings, fairy tales, Star Trek, and Disney villains, as well as iconic works of film and fiction. The result is a wrenching, riveting book that explodes our ideas about what a memoir can do and be.

2020 J. ANTHONY LUKAS PRIZE WINNER From the bestselling author of There Are No Children Here, a richly textured, heartrending portrait of love and death in Chicago's most turbulent neighborhoods. The numbers are staggering: over the past twenty years in Chicago, 14,033 people have been killed and another roughly 60,000 wounded by gunfire. What does that do to the spirit of individuals and community? Drawing on his decades of experience, Alex Kotlowitz set out to chronicle one summer in the city, writing about individuals who have emerged from the violence and whose stories capture the capacity--and the breaking point--of the human heart and soul. The result is a spellbinding collection of deeply intimate profiles that upend what we think we know about gun violence in America. Among others, we meet a man who as a teenager killed a rival gang member and twenty years later is still trying to come to terms with what he's done; a devoted school social worker struggling with her favorite student, who refuses to give evidence in the shooting death of his best friend; the witness to a wrongful police shooting who can't shake what he has seen; and an aging former gang leader who builds a place of refuge for himself and his friends. Applying the close-up, empathic reporting that made There Are No Children Here a modern classic, Kotlowitz offers a piercingly honest portrait of a city in turmoil. These sketches of those left standing will get into your bones. This one summer will stay with you.

According to Hebrews, the Son of God appeared to "break the power of him who holds the power of death--that is, the devil--and free those who all their lives were held in slavery by their fear of death." What does it mean to be enslaved, all our lives, to the fear of death? And why is this fear described as "the power of the devil"? And most importantly, how are we--as individuals and as faith communities--to be set free from this slavery to death?In another creative interdisciplinary fusion, Richard Beck blends Eastern Orthodox perspectives, biblical text, existential psychology, and contemporary theology to describe our slavery to the fear of death, a slavery rooted in the basic anxieties of self-preservation and the neurotic anxieties at the root of our self-esteem. Driven by anxiety--enslaved to the fear of death--we are revealed to be morally and spiritually vulnerable as "the sting of death is sin." Beck argues that in the face of this predicament, resurrection is experienced as liberation from the slavery of death in the martyrological, eccentric, cruciform, and communal capacity to overcome fear in living fully and sacrificially for others.

These selections from the sermons and writings of Archbishop Oscar Romero shared the message of a great holy prophet of modern times. Three short years transformed Romero, archbishop of San Salvador, from a conservative defender of the status quo into one of the church's most outspoken voices of the oppressed. Though silenced by an assassin's bullet, his spirit and the challenge of his life lives on.

Acts of violence assume many forms: they may travel by the arc of a guided missile or in the language of an economic policy, and they may leave behind a smoldering village or a starved child. The all-pervasiveness of violence makes it seem like an unavoidable, and ultimately incomprehensible, aspect of the modern world. But, in this detailed and expansive book, Marc Pilisuk and Jen Rountree demonstrate otherwise. Widespread violence, they argue, is in fact an expression of the underlying social order, and whether it is carried out by military forces or by patterns of investment, the aim is to strengthen that order for the benefit of the powerful. The Hidden Structure of Violence marshals vast amounts of evidence to examine the costs of direct violence, including military preparedness and the social reverberations of war, alongside the costs of structural violence, expressed as poverty and chronic illness. It also documents the relatively small number of people and corporations responsible for facilitating the violent status quo, whether by setting the range of permissible discussion or benefiting directly as financiers and manufacturers. The result is a stunning indictment of our violent world and a powerful critique of the ways through which violence is reproduced on a daily basis, whether at the highest levels of the state or in the deepest recesses of the mind.