Some of theater’s most powerful works in the past thirty years fall into the category of "verbatim theater," socially engaged performances whose texts rely on word-for-word testimony. Performances such as Fires in the Mirror, The Laramie Project, and The Vagina Monologues have at their best demonstrated how to hold hard conversations about explosive subjects in a liberal democracy. But in this moment of what author Ryan Claycomb terms the “rightward lurch” of western democracies, does this idealized space of democratic deliberation remain effective? In the Lurch asks that question in a pointed and self-reflexive way, tracing the history of this branch of documentary theater with particular attention to the political outcomes and stances these performances seem to seek. But this is not just a disinterested history—Claycomb reflects on his own participation in that political fantasy, including earlier scholarly writing that articulated with breathless hopefulness the potential of verbatim theater, and on his own theatrical attendance, imbued with a belief that witnessing this idealized public sphere was a substitute for actual public participation. In the Lurch also recounts the bumpy path towards its completion, two years marked by presidential impeachments, an insurrection, a national reckoning with racism, and a global pandemic. At the heart of the book is a central question: is verbatim theater any longer an effective cultural response to what can look like the possible end of democracy?

Tom was raised with a strong moral foundation set in place by his parents. He is like any other pious, God-fearing son. But as his world crashes around him, he chooses to veer from the way he was raised and let his instincts take control. He lets power go to his head, and feeling invincible, he acts out in hatred and revenge, trying to prove something to himself. Feeling deeply insecure and hurt, he feels he has no choice but to hurt back. In the Lurch tells how Tom's life changes as he matures. After losing himself, he finds his way back through all the chaos. The burdens on his shoulder make him learn about sacrifice and the purpose of living. But is he a god or a devil in the making? This incisive novel shows the ripple effects of decisions and their consequences. The author advises not to think of it as a story where you are being preached to; rather, think of the protagonist and his wrong decisions in life as a means to learn from his mistakes so that you don't make your own. And always know that you can learn from others' mistakes. Sahil is a professional writer in India. He has travelled a great deal throughout his country, and has observed how God and the devil are interpreted in different religions. He was inspired to write this book by "the wars, the rapes, molestation, death, and insecurity around the world. How fragile we humans are and how careless we are about our own fragile nature."

Lives in Play explores the centrality of life narratives to women’s drama and performance from the 1970s to the present moment. In the early days of second-wave feminism, the slogan was “The personal is the political.” These autobiographical and biographical “true stories” have the political impact of the real and have also helped a range of feminists tease out the more complicated aspects of gender, sex, and sexuality in a Western culture that now imagines itself as “postfeminist.” The book’s scope is broad, from performance artists like Karen Finley, Holly Hughes, and Bobby Baker to playwrights like Suzan-Lori Parks, Maria Irene Fornes, and Sarah Kane. The book links the narrative tactics and theatrical approaches of biography and autobiography and shows how theater artists use life writing strategies to advance women’s rights and remake women’s representations. Lives in Play will appeal to scholars in performance studies, women’s studies, and literature, including those in the growing field of auto/biography studies. “ A fresh perspective and wide-ranging analysis of changes in feminist theater for the past thirty years . . . a most welcome addition to the literature on theater, in particular scholarship on feminist practices.” —Choice “Helps sustain an important history by reviving works of feminist theater and performance and giving them a new and refreshing context and theorical underpinning . . . considering 1970s performance art alongside more conventional play production.” —Lesley Ferris, The Ohio State University

This perfect gift for readers, writers, and literature majors alike unearths the quirks of the English language. For example, do you know why a mortgage is literally a “death pledge”? Why guns have girls’ names? Why “salt” is related to “soldier”? Discover the answers to all of these etymological questions and more in this fascinating book for fans of of Eats, Shoots & Leaves. The Etymologicon is a completely unauthorized guide to the strange underpinnings of the English language. It explains how you get from “gruntled” to “disgruntled”; why you are absolutely right to believe that your meager salary barely covers “money for salt”; how the biggest chain of coffee shops in the world connects to whaling in Nantucket; and what, precisely, the Rolling Stones have to do with gardening. This witty book will awake the linguist in you and illuminate the hidden meanings behind common words and phrases, tracing their evolution through all of their surprising paths throughout history.

On cover, the word "right" has an x drawn over the letter "r" with the letter "f" above it.

International Copyright is an indispensable reference work for professionals involved with international intellectual property transactions or litigation. It is essential reading for scholars and for intellectual property practitioners worldwide. This edition provides new sections on contributory liability of intermediaries and on collective rights management.

FROM THE AUTHOR OF THE SUNDAY TIMES NUMBER ONE BESTSELLER THE ETYMOLOGICON. ‘Reading The Horologicon in one sitting is very tempting’ Roland White, Sunday Times. Mark Forsyth presents a delightfully eccentric day in the life of unusual, beautiful and forgotten English words. From uhtceare in the hours before dawn through to dream drumbles at bedtime, The Horologicon gives you the extraordinary lost words you never knew you needed. Wake up feeling rough? Then you’re philogrobolized. Pretending to work? That’s fudgelling (which may lead to rizzling if you feel sleepy after lunch). A Radio 4 Book of the Week, The Horologicon is an eye-opening, page-turning celebration of the English language at its most endearingly arcane.

A “gripping, inspiring, and politically revolutionary” novel about loneliness, inadequacy, and connection, set against the backdrop of the Norwegian postal service—for fans of Nicole Krauss and Sheila Heti (Vanity Fair). From the prize-winning Norwegian author of Will and Testament, longlisted for the National Book Award. Ellinor, a 35-year-old media consultant, has not been feeling herself; she’s not been feeling much at all lately. Far beyond jaded, she picks through an old diary and fails to recognize the woman in its pages, seemingly as far away from the world around her as she’s ever been. But when her coworker vanishes overnight, an unusual new task is dropped on her desk. Off she goes to meet the Norwegian Postal Workers Union, setting the ball rolling on a strange and transformative six months. This is an existential scream of a novel about loneliness (and the postal service!), written in Vigdis Hjorth’s trademark spare, rhythmic and cutting style.