Gathered together here for the first time are seven plays that span Havel's career from his early days at the Theater of the Balustrade through the Prague Spring, Charter 77, and the repeated imprisonments that made Havel's name into a rallying cry and propelled him to the leadership of his country. They include The Garden Party, The Increased Difficulty of Concentration, Mistake, the Vanek trilogy of Audience, Unveiling, and Protest, and the first fully corrected English version of The Memorandum--the play that won Havel the Obie for Best Foreign Play in 1968.

By his own reckoning, John Kneubuhl was "the world's greatest Swiss/Welsh/Samoan playwright." The son of a Samoan mother and an American father, Kneubuhl's multicultural heritage produced a distinctive artistic vision that formed the basis of his most powerful dramatic work. Born and raised in Samoa, Kneubuhl attended school in Honolulu and studied under Thornton Wilder at Yale. Returning to Hawai'i in the mid-1940s, Kneubuhl won acclaim as a playwright with the Honolulu Community Theater, then moved on to Los Angeles to write for television. Twenty years later he was back in Samoa, lecturing on Polynesian history and culture and writing plays, including the trilogy offered here. Unlike much of Kneubuhl's earlier work, these plays are touchingly personal in their exploration of alienation and cultural identity. Think of a Garden, the first play of the trilogy and the last written before the playwright's death in 1992, has been called the most Samoan of Kneubuhl's plays--a candid look at the writer's bicultural upbringing that artfully weaves together family memory, history, and mysticism. Think of a Garden makes the work of one of the Pacific's preeminent playwrights available for the first time to a wide audience of theatre enthusiasts, literature specialists, and others interested in Pacific themes.

A rehearsal dinner brings together two disparate families in this sparkling, witty novel “This vital novel offers delicious echoes of Virginia Woolf and E. M. Forster, and a touch of A Midsummer Night’s Dream—but its magic is unique. The Garden Party is beautiful and full of life.”—Claire Messud, author of The Burning Girl and The Woman Upstairs The Cohens are wildly impractical intellectuals—academics, activists, and artists. The Barlows are Wall Street Journal–reading lawyers steeped in trusts and copyrights, golf and tennis. The two families are reserved with and wary of each other, but tonight, the evening before the wedding that is supposed to unite them in marriage, they will attempt to set aside their differences over dinner in the garden. As Celia Cohen, the eminent literary critic, sets the table, her husband, Pindar, would much rather be translating ancient recipes for his Babylonian cookbook than hosting this rehearsal dinner. Meanwhile, their son, Adam, the poet (and nervous groom), wonders if there is still time to simply elope. One of Adam’s sisters, Naomi, a passionate but fragile social activist, refuses to leave her room, while Sara, scorpion biologist turned folklore writer, sits up on the roof mourning an imminent breakup. And Pindar’s elderly mother, Leah, witnesses everything, weaving old memories into the present. The lawyers are early: patriarch Stephen Barlow and his bespangled wife, Philippa, who specializes in estates, along with Philippa’s father, Nathan, hobbled by age and Lyme disease. Then come the Barlow sons William (war crimes), Cameron (intellectual property), and Barnes (the prosecutor), each with desperate wife and precocious offspring. How could their younger siblings—Eliza, the bride, an aspiring veterinarian, and her twin brother, Harry, recently expelled from divinity school—have issued from such a family? Up and down the dinner table, with its twenty-four (or is it twenty-five?) guests, unions are forming and dissolving while Pindar is trying to figure out whether time is really shaped like baklava, and off in the surrounding forest with its ancient pond different sorts of mischief will lead to a complicated series of fiascoes and miracles before the party is over. Set over the course of a single day and night, Grace Dane Mazur’s brilliantly observed novel weaves an irresistible portrayal of miscommunication, secrets, and the power of love. “Lyrical and charming, this comedy of errors is a delightful summer read.”—People

NATIONAL BESTSELLER • A modern classic of true crime, set in a most beguiling Southern city—now in a 30th anniversary edition with a new afterword by the author “Elegant and wicked . . . might be the first true-crime book that makes the reader want to book a bed and breakfast for an extended weekend at the scene of the crime.”—The New York Times Book Review Shots rang out in Savannah’s grandest mansion in the misty, early morning hours of May 2, 1981. Was it murder or self-defense? For nearly a decade, the shooting and its aftermath reverberated throughout this hauntingly beautiful city of moss-hung oaks and shaded squares. In this sharply observed, suspenseful, and witty narrative, John Berendt skillfully interweaves a hugely entertaining first-person account of life in this isolated remnant of the Old South with the unpredictable twists and turns of a landmark murder case. It is a spellbinding story peopled by a gallery of remarkable characters: the well-bred society ladies of the Married Woman’s Card Club; the turbulent young gigolo; the hapless recluse who owns a bottle of poison so powerful it could kill every man, woman, and child in Savannah; the aging and profane Southern belle who is the “soul of pampered self-absorption”; the uproariously funny drag queen; the acerbic and arrogant antiques dealer; the sweet-talking, piano-playing con artist; young people dancing the minuet at the black debutante ball; and Minerva, the voodoo priestess who works her magic in the graveyard at midnight. These and other Savannahians act as a Greek chorus, with Berendt revealing the alliances, hostilities, and intrigues that thrive in a town where everyone knows everyone else. Brilliantly conceived and masterfully written, Midnight in the Garden of Good and Evil is a sublime and seductive reading experience.

More than any other public figure, VOclav Havel has reflected on the opportunities and dilemmas facing humankind as a result of the collapse of Communism. In VOclav Havel: Civic Responsibility in the Postmodern Age, James F. Pontuso argues that Havel's life as a dissident and political leader, his political philosophy, and his plays must be understood as connected to one another. Pontuso skillfully explores these connections and explains Havel's prescriptions for political life.

Political Action in Vaclav Havel's Thought: The Responsibility of Resistance, by Delia Popescu, examines resistance to oppression and individual responsibility in political action, all in the context of Vaclav Havel's political philosophy. The famous anti-communist dissident, acclaimed playwright, former President of the Czech Republic, and eminent political thinker argues that there is a certain tendency in modern humanity towards the creation, or at least toleration, of a political system that is invasive and controlling. Not unlike Tocqueville and Arendt, Havel claims that modern liberal democracy contains potential tendencies toward a new form of despotism that capitalizes on modern alienation and social atomization. Political Action in Vaclav Havel's Thought suggests that Havel's theory of individual opposition can be used to secure political freedom under the conditions of modernity. Popescu demonstrates that Havel's idea of attaining true political participation and freedom requires a strong connection between an individually constructed ethics and the realm of politics. On this basis she reveals that a thick notion of morality can be usefully integrated into an account of both private and public accountability. Vaclav Havel's essays, plays, speeches, and letters can therefore be integrated into a coherent political theory which contributes significantly to some of the central debates in modern political thought. Delia Popescu concludes that Havel's theory of individual opposition to totalitarianism may also serve as the foundation for a conception of responsible participation in modern liberal democracies.

The book considers Václav Havel’s body of writing as a cohesive whole offering a consistent political philosophy. This bold claim is backed up through a close examination of Havel’s plays, letters, essays and aphorisms. The political philosophy that a close reading of Havel reveals is a liberal one. However, Havel is not the run-of the-mill liberal having influences from the field of phenomenology, Masaryk, Husserl, Levinas Patočka and Heidegger which give him a nuanced view of the self. Havel sees the self as something always being formed. Hence for Havel man has an ability to ‘shake’ his current state and invite transcendence into his life. This agonistic process reveals our responsibility and liberates the self from forces which coerce behaviour.

The Dissident Politics in Václav Havel’s Vaněk Plays: Who Is Ferdinand Vaněk Anyway focuses on Ferdinand Vaněk, a semi-autobiographical character created by Václav Havel and featured in a series of nine plays written by Havel himself and three other dissident writers – Pavel Kohout, Pavel Landovský, and Jiří Dienstbier. By exploring the ‘Vaněk experience,’ Carol Strong details a multi-episodic, absurdist journey that provides an ‘insider’s view’ of the challenges facing those daring enough to question the status quo, a view that remains relevant today. Strong’s contention is that the lines found in these plays served as a ‘secret language’ of dissent in Cold War Czechoslovakia, which called the citizenry to contemplate the need for societal reform. As the plays were written at a time when the work of Havel and other dissidents were banned, the plays were never performed publicly, but through clandestine living room performances and the sharing of samizdat scripts the plays found an audience. Select phrases were indeed whispered throughout underground networks and helped forge a sense of oppositional solidarity among potential activists. Strong’s argument is that the ‘Vaněk experience’ metaphorically highlights how official power mechanisms are among the least insidious forms of societal power, as the state must follow predictable patterns of legal jurisprudence. By contrast, non-governmental forms of power – as exercised by one’s fellow citizens through informal social channels – can challenge oppositional actors more because of the personal tone they adopt. Using this approach, Strong presents a timelessly relevant critique of modern society with its consumerist / conformist tendencies.