A lively, deeply reported tour of the science and strategies helping athletes like Tom Brady, Serena Williams, Carli Lloyd, and LeBron James redefine the notion of “peak age.” Season after season, today’s sports superstars seem to defy the limits of physical aging that inevitably sideline their competitors. How much of the difference is genetic destiny and how much can be attributed to better training, medicine, and technology? Is athletic longevity a skill that can be taught or a mental discipline that can be mastered? Can career-ending injuries be predicted and avoided? Journalist Jeff Bercovici spent extensive time with professional and Olympic athletes, coaches, and doctors to find the answers to these questions. His quest led him to training camps, tournaments, hospitals, antiaging clinics, and Silicon Valley startups, where he tried cutting-edge treatments and technologies firsthand and investigated the realities behind health fads like alkaline diets, high-intensity interval training, and cryotherapy. Through fascinating profiles and first-person anecdotes, Bercovici illuminates the science and strategies extending the careers of elite older athletes, uncovers the latest advances in fields from nutrition to brain science to virtual reality, and offers empowering insights about how the rest of us can find peak performance at any age.

Alecia is about to be adopted by a new stepfather, her soccer team, the Burrards, is preparing for the championship game, and a cute new boy has arrived on the scene. But there are even more changes on the horizon. The team's game is suffering as the players get distracted by other interests. If the Burrards are to make it to the finals, they must renew their commitment to their sport and to each other. Play On is the satisfying conclusion to the acclaimed series that also includes Offside! and Alecia's Challenge.

Play is one of humanity's straightforward yet deceitful ideas: though the notion is unanimously agreed upon to be universal, used for man and animal alike, nothing defines what all its manifestations share, from childish playtime to on stage drama, from sporting events to market speculation. Within the author's anthropological field of work (Mongolia and Siberia), playing holds a core position: national holidays are called "Games," echoing in that way the circus games in Ancient Rome and today's Olympics. These games convey ethical values and local identity. Roberte Hamayon bases her analysis of the playing spectrum on their scrutiny. Starting from fighting and dancing, encompassing learning, interaction, emotion and strategy, this study heads towards luck and belief as well as the ambiguity of the relation to fiction and reality. It closes by indicating two features of play: its margin and its metaphorical structure. Ultimately revealing its consistency and coherence, the author displays play as a modality of action of its own. "Playing is no 'doing' in the ordinary sense" once wrote Johan Huizinga. Isn't playing doing something else, elswhere and otherwise ?

Without William Shakespeare, we wouldn’t have literary masterpieces like Romeo and Juliet. But without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg, and band together to get it done. Amidst the noise and color of Elizabethan London, THE BOOK OF WILL finds an unforgettable true story of love, loss, and laughter, and sheds new light on a man you may think you know.

"Bam and Jam are big dogs with even bigger hearts. All they want in life is to make friends and be happy, but life isn't always easy... Join Bam and Jam on their adventures as they face the many daily struggles of being a little bit different." There are a great many activities and social settings or requirements that are inaccessible to some, either through their own fears or factors out of their control. Now though, we're living in a moment where kindness, empathy and inclusion are being talked about more than ever before; but it's important that these conversations lead to change. Even if that's just within our own home or school environments at first. While on the surface "The Adventures of Bam and Jam" may only appear to deliver a simple lesson, there's a message in each story that runs deeper and is widely transferrable to many aspects of our lives. I try to shed light on situations great and small that we will all be faced with - or have faced previously - as seen in "You Can't Play With Us!" Something as seemingly straightforward as making friends is often quite the opposite, emphasising the importance of understanding inclusion from an early age. Books can be an excellent tool for teaching and building a basic understanding of larger issues. However more than that, children - and parents - often find comfort within their pages. I hope these stories (most based on genuine experience) will serve as both entertaining and educational. Not just for children but dog owners too!

At Play in the Garden of Stitch provides ways to think about how thread and fabric can bring depth to composition, texture to emotions and line to ideas. Kovarik has won numerous awards for her densely machine-stitched art in which the quilting line is used to draw intricate patterns and pictures. Simple exercises encourage the reader to approach each day with a curious mind willing to make a mess of expectations, embrace the wonky by letting the thread lead, and think in thread while making careful observations of the world. Heavily illustrated with examples and finished art the book provides quilters and artists with new ways to approach this medium.

Over the years American—especially New York—audiences have evolved a consistent set of expectations for the "Irish play." Traditionally the term implied a specific subject matter, invariably rural and Catholic, and embodied a reductive notion of Irish drama and society. This view continues to influence the types of Irish drama produced in the United States today. By examining seven different opening nights in New York theaters over the course of the last century, John Harrington considers the reception of Irish drama on the American stage and explores the complex interplay between drama and audience expectations. All of these productions provoked some form of public disagreement when they were first staged in New York, ranging from the confrontation between Shaw and the Society for the Suppression of Vice to the intellectual outcry provoked by billing Waiting for Godot as "the laugh sensation of two continents." The inaugural volume in the series Irish Literature, History, and Culture, The Irish Play on the New York Stage explores the New York premieres of The Shaughraun (1874), Mrs. Warren's Profession (1905), The Playboy of the Western World (1911), Exiles (1925), Within the Gates (1934), Waiting for Godot (1956), and Philadelphia, Here I Come! (1966).

In 1953, Samuel Beckett’s Waiting for Godot premiered at a tiny avant-garde theatre in Paris; within five years, it had been translated into more than twenty languages and seen by more than a million spectators. Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition. Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Edited and introduced by John Margeson, King Henry VIII appears here for the first time in a New Cambridge Shakespeare edition. In his introduction Margeson explores the political and religious background to the play, its pageant-like structure and visual effects, and its varied ironies. He also discusses its stage history, from the famous occasion in 1613 when the Globe theatre burned down during a performance of King Henry VIII to important theatrical productions of the late twentieth century. A balanced account is provided of the authorship controversy that arose in the nineteenth century, when John Fletcher's name was first put forward as a likely collaborator.