In the wake of Ireland’s recent economic rise, fall, and associated social crises, theatre and performance have played vital roles in reflecting on the past, engaging the present, and imagining possible futures. That Was Us features a wide, rich range of critical essays and artist reflections that strive to make sense of some of the most significant shifts and trends in contemporary Irish theatre and performance. Focusing on artists connected to the Dublin Theatre Festival, the book addresses work by the Abbey Theatre, ANU Productions, Brokentalkers, The Corn Exchange, Druid, Fabulous Beast Dance Theatre, the Gate Theatre, Landmark Productions, Rough Magic Theatre Company, THEATREclub, Theatre Lovett, Pan Pan, The Stomach Box and THISISPOPBABY, among others. Some of the burgeoning forms and practices discussed include: site-specific and site-responsive theatre; testimonial, documentary, and biographical performance; dance theatre; theatre for children and families; new writing; and fresh takes on canonical writing staged at home or toured internationally. In bringing together critics and artists to think side by side, That Was Us is indispensable for anyone interested in contemporary practices and cultural politics. Contents 1. The Power of the Powerless: Theatre in Turbulent Times by Fintan Walsh ONE: Theatres of Testimony 2. ANU Productions and Site-Specific Performance: The Politics of Space and Place by Brian Singleton 3. Witnessing the (Broken) Nation: Theatre of the Real and Social Fragmentation in Brokentalkers’ Silver Stars, The Blue Boy, and Have I No Mouth by Charlotte McIvor 4. You Had to be There by Louise Lowe TWO: Auto/Biographical Performance 5. Making Space: Female-Authored Queer Performance in Irish Theatre by Oonagh Murphy 6. The Writing Life by Helen Meany 7. Metaphysicians of Unnatural Chaos: Memories of Genesi by Socìetas Raffaello Sanzio by Dylan Tighe THREE: Bodies Out of Bounds 8. Insider and Outsider: Michael Keegan-Dolan in the Irish Dance Landscape by Michael Seaver 9. And the Adults Came Too! Dublin Theatre Festival and the Development of Irish Children’s Theatre by Eimear Beardmore 10. Living Inspiration by John Scott FOUR: Placing Performance 11. Representations of Working-Class Dublin at the Dublin Theatre Festival by James Hickson 12. ‘Getting Known’: Beckett, Ireland, and the Creative Industries by Trish McTighe 13. The Art of Perspective by Michael West FIVE: Touring Performances 14. Druid Cycles: The Rewards of Marathon Productions by Tanya Dean 15. Staging the National in an International Context: Druid at the Dublin Theatre Festival by Sara Keating 16. Viewed from Afar: Contemporary Irish Theatre on the World’s Stages by Peter Crawley 17. A Dance You Associate With Your Family by Gary Keegan

What would you do for a secret love? Despite not speaking for nearly twenty years, Massimo Damiani, a 'rags-to-riches' oil executive, summons Sofie to his hospice bedside in picturesque Tuscany—his last wish?...to reconcile their stormy history and set long-buried secrets to rest. Sofia Romano, a powerful Wall Street banker in Manhattan's financial district, reeling with heartache in her rocky marriage, ignores her husband's protests and flies to Italy to comfort the dying man from her past. With old promises tugging at her heart and the memory of a tempestuous love that grew and crumbled time and again, will Sofia ever come to terms with the flaws in her marriage and gain the strength to rebuild it?

Braiding strands of earthen insight with uproarious storytelling, Texas Hill Country legendary author Becky Patterson recreates the history of the Steiler Hill Ranch in twenty-four anecdotal chapters interspersed with original artwork. The result is a mixture of memoir and montage, treasure chest and tableau vivant of a world that’s beautiful, brash, and wonderfully heartbreaking. Patterson -- the daughter of Texas folk hero and self-proclaimed mayor of Luckenbach, Hondo Crouch -- has big shoes to fill and she does so successfully in this colorful collection of Hill Country and Texas ranch vignettes. Foreman and general cowboy guru Raymond Kuhlmann tells stories of the Goat King and German drinking songs, the buzzard traps and Mexican corridos that filled the nighttime pastures. First-person accounts and vivid historical narratives evoke the ranch’s past, overlaid with Patterson’s breathless personal histories of afternoons spent rescuing a doe in a nightgown, or saving a porcupine from a pack of dogs. This is a book that will connect you to whatever patch of earth you hold dear. It is poignant reminder of the landscapes we’ve forgotten to keep close, of the land that does not belong to us but simply is who we are. The Ranch That Was Us is an affectionate reminder to go outside and touch the earth that is you.

U.S. History is designed to meet the scope and sequence requirements of most introductory courses. The text provides a balanced approach to U.S. history, considering the people, events, and ideas that have shaped the United States from both the top down (politics, economics, diplomacy) and bottom up (eyewitness accounts, lived experience). U.S. History covers key forces that form the American experience, with particular attention to issues of race, class, and gender.

That Was Yesterday is a unique blend of story-telling and practical guidance for living life the way God intended. Author Jeff Copelan brings familiar and not-so-familiar people from the Bible to life and uses their stories to guide readers through real-life decisions today. That Was Yesterday tells the stories of Biblical personalities by taking what the Bible says and filling in the blanks, recreating them into people who might live next door or be in tomorrow's news. Read the stories of: David, second-guessing God's call to action Rahab, as the last of her people, a stranger among the Israelites The rich young man, as he wrestles with Jesus' requirements to join His ministry The Samaritan woman, with Jesus at the village well And many more! That Was Yesterday offers practical Biblical insights to smooth out the rough patches so many of us encounter in this life. Ponder the decisions, the successes and the mistakes, of some of God's hand-picked people. You'll want to share this timeless wisdom with your friends, coworkers, and loved ones-anyone who could use a helping hand.

NEW YORK TIMES BESTSELLER • LONGLISTED FOR THE NATIONAL BOOK AWARD • One of today’s most insightful and influential thinkers offers a powerful exploration of inequality and the lesson that generations of Americans have failed to learn: Racism has a cost for everyone—not just for people of color. WINNER OF THE PORCHLIGHT BUSINESS BOOK AWARD • ONE OF THE BEST BOOKS OF THE YEAR: Time, The Washington Post, St. Louis Post-Dispatch, Ms. magazine, BookRiot, Library Journal “This is the book I’ve been waiting for.”—Ibram X. Kendi, #1 New York Times bestselling author of How to Be an Antiracist Look for the author’s podcast, The Sum of Us, based on this book! Heather McGhee’s specialty is the American economy—and the mystery of why it so often fails the American public. From the financial crisis of 2008 to rising student debt to collapsing public infrastructure, she found a root problem: racism in our politics and policymaking. But not just in the most obvious indignities for people of color. Racism has costs for white people, too. It is the common denominator of our most vexing public problems, the core dysfunction of our democracy and constitutive of the spiritual and moral crises that grip us all. But how did this happen? And is there a way out? McGhee embarks on a deeply personal journey across the country from Maine to Mississippi to California, tallying what we lose when we buy into the zero-sum paradigm—the idea that progress for some of us must come at the expense of others. Along the way, she meets white people who confide in her about losing their homes, their dreams, and their shot at better jobs to the toxic mix of American racism and greed. This is the story of how public goods in this country—from parks and pools to functioning schools—have become private luxuries; of how unions collapsed, wages stagnated, and inequality increased; and of how this country, unique among the world’s advanced economies, has thwarted universal healthcare. But in unlikely places of worship and work, McGhee finds proof of what she calls the Solidarity Dividend: the benefits we gain when people come together across race to accomplish what we simply can’t do on our own. The Sum of Us is not only a brilliant analysis of how we arrived here but also a heartfelt message, delivered with startling empathy, from a black woman to a multiracial America. It leaves us with a new vision for a future in which we finally realize that life can be more than a zero-sum game. LONGLISTED FOR THE ANDREW CARNEGIE MEDAL

"I too am not a bit tamed—I too am untranslatable / I sound my barbaric yawp over the roofs of the world."—Walt Whitman, "Song of Myself," Leaves of Grass The American Yawp is a free, online, collaboratively built American history textbook. Over 300 historians joined together to create the book they wanted for their own students—an accessible, synthetic narrative that reflects the best of recent historical scholarship and provides a jumping-off point for discussions in the U.S. history classroom and beyond. Long before Whitman and long after, Americans have sung something collectively amid the deafening roar of their many individual voices. The Yawp highlights the dynamism and conflict inherent in the history of the United States, while also looking for the common threads that help us make sense of the past. Without losing sight of politics and power, The American Yawp incorporates transnational perspectives, integrates diverse voices, recovers narratives of resistance, and explores the complex process of cultural creation. It looks for America in crowded slave cabins, bustling markets, congested tenements, and marbled halls. It navigates between maternity wards, prisons, streets, bars, and boardrooms. The fully peer-reviewed edition of The American Yawp will be available in two print volumes designed for the U.S. history survey. Volume I begins with the indigenous people who called the Americas home before chronicling the collision of Native Americans, Europeans, and Africans.The American Yawp traces the development of colonial society in the context of the larger Atlantic World and investigates the origins and ruptures of slavery, the American Revolution, and the new nation's development and rebirth through the Civil War and Reconstruction. Rather than asserting a fixed narrative of American progress, The American Yawp gives students a starting point for asking their own questions about how the past informs the problems and opportunities that we confront today.

This extraordinary book, written from material gathered over half a century ago, will almost certainly be the last fine-grained account of traditional Aboriginal life in settled south-eastern Australia. It recreates the world of the Yaraldi group of the Kukabrak or Narrinyeri people of the Lower Murray and Lakes region of South Australia. In 1939 Albert Karloan, a Yaraldi man, urged a young ethnologist, Ronald Berndt, to set up camp at Murray Bridge and to record the story of his people. Karloan and Pinkie Mack, a Yaraldi woman, possessed through personal experience, not merely through hearsay, an all but complete knowledge of traditional life. They were virtually the last custodians of that knowledge and they felt the burden of their unique situation. This book represents their concerted efforts to pass on the story to future generations. For Ronald and Catherine Berndt, this was their first fieldwork together in an illustrious joint career of almost fifty years. During long periods, principally until 1943, they laboured with pencil and paper to put it all down - a far cry from the recording techniques of today's oral historians. Their fieldnotes were worked into a rough draft of what would become, but not until recently, the finished manuscript. The book's range is encyclopaedic and engrossing - sometimes dramatic. It encompasses relations between and among individuals and clan groups, land tenure, kinship, the subsistence economy, trade, ceremony, councils, fighting and warfare, rites of passage from conception to death, myths, and beliefs and practices concerning healing and the supernatural. Not least, it is a record of the dramatic changes following European colonization. A World That Was is a unique contribution to Australia's cultural history. There is simply no comparable body of work, nor is there ever likely to be.

When talking about the Bible; God's Word, I have had people say to me, "Wouldn't it be easier if God would just speak to us with an audible voice and tell us plainly what he wants from us?" Wouldn't that be a whole lot easier? The temptation would be to say, "God is very busy holding the world together and doesn't have time to talk to every one of us at the same time," but that would not be true. The truth is, God could do that if he chooses to, but seeing He is so much wiser than us, He thought of a way that is better. He talks to every one of us at the same time no matter where we are in the world and no matter what era we lived in God is saying the same thing to all of us. We have a problem with the way we think about things like this. First God is in the realm of eternity while we are stuck in time. Anytime we think about the things of God we need to look at them from the perspective of eternity and not time. Second God's ways are not our ways. God's is so much higher than ours. What you did yesterday, and what you are doing this very moment, and what you will do tomorrow, if tomorrow comes is no different to God. He sees everything as already happening. There is no time with God. He is outside the box of time, but He interacts within time. We know this fact from His word. I decided to introduce the book of Hebrews like this because of the way the book starts out with these words. "Long ago, at many times and in many ways, God spoke to our fathers by the prophets, but in these last days he has spoken to us by his Son, whom he appointed the heir of all things, through whom also he created the world." He takes us back in time and lets us know that He interacted with people by using people; the prophets, but now he is communicating with us by his Son. He then tells us who His Son is. He is the one who created us and our world. There is another book of the Bible that tells us the same thing. When John wrote his gospel he started it out like this: " In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things were made through him, and without him was not any thing made that was made." The Word that John was talking about is the Son that is talked about in the book of Hebrews. This should put to rest the reason God is using the Word to speak with us. Whether it is the written Word or the Living Word, He is using this to bring His will to us. God the Father said this about His Son on the top of the mount of Transfiguration, "This is my beloved Son, whom I am well pleased, listen to him." Matthew 17:5. There is one thing more I will mention here before we get into the Book of Hebrews. We don't know who penned the words to this book, and I am not going to debate that here, but I will say that it was inspired by the Holy Spirit, and I can say this because The Apostle Paul told Timothy in his second letter that, "All Scripture is breathed out by God and profitable for teaching, for reproof, for correction, and for training in righeousness, that the man of God may be complete, equipped for every good work." As we read through this book, you may see something that I find interesting, and that is that Christ Himself could have written this book just from the way it comes across. I am not saying he wrote it, but the way it is written he could have.

Paul McCartney has lived an extraordinary life in popular music and popular culture. His careers as a Beatle, as a solo musician and band leader in Wings, and in areas outside music have varied tremendously and are well-documented. That Was Me explores the impact of Paul McCartney as a musician outside the Beatles, identifying the continued excitement in generations of fans and listeners, and his perennial efforts to perform and record music. Richard Driver argues that his solo career is multi-faceted and extremely diverse, ranging from breaking sharply with the style and output of the Beatles to experimenting in orchestral and operatic music and returning to music designed to emulate and reproduce the style, success, and popularity of the Beatles. Through McCartney we can literally and symbolically view and revisit the popular music phenomenon that was the Beatles, and popular music from the 1950s to today.