(Applause Books). Jewish playwrights and plays of Jewish interest intended for general audiences have been increasingly conspicuous on the American stage since the early 20th century. No wonder. The evolution of Jewish life in America teems with richly dramatic material: immigration, "making it," intergenerational family relationships, the impact of the Great Depression, two World Wars, the Holocaust, the establishment of Israel, and the emergence of feminism and alternative life styles. And pre-eminently and enduringly, the dilemma of identity: how to acculturate without losing one's Jewish identity. A retrospective of the American Jewish repertoire of the last 80 years tells us a good deal about how Jews have perceived themselves and America and how America has perceived Jews. Schiff's collections, Awake and Singing (1995) and Fruitful and Multiplying (1996) were the first ever to represent the magnitude and importance of the American Jewish repertoire. This new edition brings together five plays from those pioneering anthologies: Elmer Rice's Counsellor-at-Law ; Clifford Odets' Awake and Sing! ; Sylvia Regan's Morning Star ; Paddy Chayefsky's The Tenth Man ; and Herb Gardner's Conversations with My Father . They are joined by Broken Glass , Arthur Miller's first play to focus specifically on deeply disturbing American Jewish problems: assimilation, self-hatred and terrified awareness of the Nazi threat to European co-religionists. The introductory essay provides a cultural and historical overview and there are generous headnotes to each play.

Vols. 12-13 include the separately paged supplement: Warlock o'Glenwarlock... By George Macdonald.

Cartoonist Winsor McCay (1869-1934) is rightfully celebrated for the skillful draftmanship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland and Dream of the Rarebit Fiend. McCay crafted narratives of anticipation, abundance, and unfulfilled longing. This book explores McCay's interest in dream imagery in relation to the larger preoccupation with fantasy that dominated the popular culture of early twentieth-century urban America. McCay's role as a pioneer of early comics has been documented; yet, no existing study approaches him and his work from an art historical perspective, giving close readings of individual artworks while situating his output within the larger visual culture and the rise of modernism. From circus posters and vaudeville skits to department store window displays and amusement park rides, McCay found fantastical inspiration in New York City's burgeoning entertainment and retail districts. Wide Awake in Slumberland connects McCay's work to relevant children's literature, advertising, architecture, and motion pictures in order to demonstrate the artist's sophisticated blending and remixing of multiple forms from mass culture. Studying this interconnection in McCay's work and, by extension, the work of other early twentieth-century cartoonists, Roeder traces the web of relationships connecting fantasy, leisure, and consumption. Readings of McCay's drawings and the eighty-one black-and-white and color illustrations reveal a man who was both a ready participant and an incisive critic of the rising culture of fantasy and consumerism.

There was an accident. Ember knows at least that much. She was driving. The car was totaled. Eight months later, Ember feels broken. She can’t even remember the six weeks of her life leading up to the accident. Where was she going? Who was she with? And what happened during those six weeks that her friends and family won’t talk about? In the wake of her critically praised young adult psychological thrillers, Tighter and All You Never Wanted, National Book Award finalist Adele Griffin has created another triumph in this unflinching story of loss and recovery that Booklist called “exquisite” in a starred review.

Clyde Stout is a high school graduate in a small Ohio town; he loves tinkering with cars and dreaming about his girlfriend. He is coasting ... until he discovers he has a new talent: the ability to hang from a metal bar longer than anybody! Others start calling him "Hanger," and an out-of-town stranger, trying to help the boy to profit from this talent, organizes various "hanging competitions." At first, Hanger goes along, but after a while he becomes suspicious of the stranger’s motives; is he for real? Hanger is no longer a boy and not yet an adult – but he finds himself in a world where older adults are constantly offering advice and supervision and alleged wisdom. Until then, Hanger had always been an amiable and trusting sort; now Hanger needs to look at things through adult eyes — can he adapt to a world which seems less safe or reliable but possibly more profound? This slender 150 page coming-of-age novella was first published in 1967 and reprinted several times. Now, in celebration of its 50th anniversary, it is available as an ebook. TIME MAGAZINE described it as a "gentle first novel told with a fine ear for adolescent patois," and National Book Award winning poet William Stafford called it one of the most neglected works of the 20th century. Southern novelist Eudora Welty said about the book: “I like it, and warmly admire his sturdy subject and delicately restrained treatment. It seemed to me blessed with honesty, clarity, directness, proportion and a lovely humor. . . .” The book is a fun and easy read… Not too much seems to happen in the novel, and the protagonist (we’re sorry to report) is not a werewolf or vampire or time traveler or wizard or superhero; to all appearances, he’s just an ordinary guy, but if you penetrate beneath appearances, you’ll find that he’s defiantly and unforgettably unique. This book will help you remember how it felt to be a teenager…before you needed to start worrying about more serious matters. Like life, or what passes for life in the world of adults. This 50th anniversary edition includes an introductory essay, "Hanger at 50 Years: A Rumination" by Robert Nagle. "Here is a contemporary character so rich in innocence, he seems a hybrid descendant of Candide and Don Quixote ... Hanger Stout stays in your memory, hanging on, as only a Champion can, for a long, long time." (Laurie Levy, CHICAGO TRIBUNE) "The author has created a true American original in the line of Huckleberry Finn, Penrod Schofield, Plupy Shute and Dink Stover as the hero of one of the best novels of this or any other recent year." (Ernest Cady, COLUMBUS DISPATCH)." "In an automobile graveyard of human possibilities, using all the strengths of realism and none of its cliches, Jack Matthews presents a deeply original novel. I think it is tremendous." (J. Michael Yates, MUNDUS ARTIUM) . "... charming, delightful and thoroughly readable novel." (Gregor Roy, CATHOLIC WORLD). "...a superb novel which must be read before it is read about." (Day Thorpe, WASHINGTON STAR ). "Introducing from the tree limb on the left, the hangingest hanging man in the country, Clyde Stout. Sound like a wiggy field event? It started when Mr. Comisky drove into the station to have his car fixed. But it's Clyde's story, told in diary form and he's one of the most charming, congenial characters met in years. Clyde isn't too intelligent but he's smart. He's also in-cred-ibly naive, innocence personified. A delightful notion of a book. Hang in there boy." KIRKUS REVIEW

The Bolshoi Saga: Lana Lana Dukovskaya is an up and coming talent at the Bolshoi Ballet, where her mother, Marina, also danced until her career came to a mysterious end. On the eve of an international tour, Lana’s best friend and chief rival is brutally attacked, making Lana both the substitute soloist and the prime suspect. Once in New York, Lana meets Georgi Levshik, a powerful Russian émigré who claims to know the truth about her mother’s past. Lana is wary, torn between curiosity and distrust. But when another young dancer is struck down just hours before her debut, Lana knows she is in danger. On the run, Lana puts her trust in Levshik’s alluring bodyguard, Roma. Together they must uncover the truth about a blood feud involving three generations of Dukovskaya dancers.

Before phonographs and moving pictures, live performances dominated American popular entertainment. Carnivals, circuses, dioramas, magicians, mechanical marvels, musicians, and theatrical troupes—all visited rural fairgrounds, small-town opera houses, and big-city palaces around the country, giving millions of people an escape from their everyday lives for a dime or a quarter. In From Traveling Show to Vaudeville, Robert M. Lewis has assembled a remarkable collection of nineteenth- and early twentieth-century primary sources that document America's age of theatrical spectacle. In eight parts, Lewis explores, in turn, dime museums, minstrelsy, circuses, melodramas, burlesque shows, Wild West shows, amusement parks, and vaudeville. Included in this compendium are biographies, programs, ephemera produced by theatrical entrepreneurs to lure audiences to their shows, photographs, scripts, and song lyrics as well as newspaper accounts, reviews, and interviews with such figures as P. T. Barnum and Buffalo Bill Cody. Lewis also gives us reminiscences about and reactions to various shows by members of audiences, including such prominent writers as Mark Twain, William Dean Howells, Nathaniel Hawthorne, Carl Sandburg, Walt Whitman, Louisa May Alcott, Charles Dickens, O. Henry, and Maxim Gorky. Each section also includes a concise introduction that places the genre of spectacle into its historical and cultural context and suggests major interpretive themes. The book closes with a bibliographic essay that identifies relevant scholarly works. Many of the pieces collected here have not been published since their first appearance, making From Traveling Show to Vaudeville an indispensable resource for historians of popular culture, theater, and nineteenth-century American society.