This work is a collection of three of Len Jenkin's plays, A country doctor, Like I say, and Pilgrims of the night. A country doctor focuses on Kafka's physician travelling through a blizzard to reach a dying patient. Like I say focuses on a group of travellers staying at a hotel trying to make money. And Pilgrims of the night focuses on a group of pilgrims who pass time telling salacious stories during a storm.

Uncle Sam was a novelties salesman who died one night, alone and broke, in a Pittsburgh hotel. But he was also a larger-than-life figure, a mythic hero, to his nephew who now seeks to discover his uncle's true story. His quest is a quixotic and picaresque one, involving a seductive nightclub singer who promises to marry Sam if he can locate his ne'er-do-well brother (who absconded with the proceeds from a robbery), and developing into a series of sometimes funny, sometimes hair-raising episodes as the nephew "becomes" his uncle in his youth and journeys to a remote lighthouse, a rather sinister university laboratory, an opium den, the clinic of a Mexican quack, and a very odd miniature golf course all intriguingly distorted, as though viewed through a funhouse mirror. In the end it is really the landscape of the mind that is explored and illuminated, as the trail leads back to Old Sam and the disquieting knowledge that dreams and reality are, in the final essence, often one and the same, with the "truth" still remaining tantalizingly out of reach.

Trapped during a storm in a ferry terminal with no food, no electricity, and no cellular signal, these pilgrims of the night pass the time sharing salacious tales that range from adultery to a biblical flood. "In the six tales of PILGRIMS OF THE NIGHT, and in the framing narrative, Jenkin explores many of the raw nerve ends in our society; the deep need to believe an absolute, while at the same time reveling in the gratification of the present; the difference between titillation and satisfaction; the bizarre nature of reality; and the real nature of the bizarre." -Times (Seattle) "Jenkin's PILGRIMS OF THE NIGHT is a wonderful combination of innocence and guile, primitive impulses and sophisticated craft. Zombies, a headless woman, an island paradise, an erotically frustrated fry cook, a psychopathic neurosurgeon, a silver fairy, and a formerly live deer all make memorable impressions." -Post-Intelligencer (Seattle)

New Playwriting Strategies has become a canonical text in the study and teaching of playwriting, offering a fresh and dynamic insight into the subject. This thoroughly revised and expanded second edition explores and highlights the wide spread of new techniques that form contemporary theatre writing, as well as their influence on other dramatic forms. Paul Castagno builds on the innovative plays of Len Jenkin, Mac Wellman, and the theories of Mikhail Bakhtin to investigate groundbreaking new techniques from a broad range of contemporary dramatists, including Sarah Ruhl, Suzan Lori-Parks and Young Jean Lee. New features in this edition include an in-depth study of the adaptation of classical texts in contemporary playwright and the utilizing new technologies, such as YouTube, Wikipedia and blogs to create alternative dramatic forms. The author’s step-by-step approach offers the reader new models for: narrative dialogue character monologue hybrid plays This is a working text for playwrights, presenting a range of illuminating new exercises suitable for everyone from the workshop student to the established writer. New Playwriting Strategies is an essential resource for anyone studying and writing drama today.

Early in his career, Len Jenkin identified two qualities that theatre should have: wonder and heart. Imagination creates wonder by transforming nature to suggest more than nature. Love engages the heart on the quest to experience the wonder, for though Jenkin is an experimental playwright, his plays are not abstruse symbols. They are tales that take salesmen and actresses, historical figures and fictional characters, through a Stein landscape and a Kafka story, pop culture, and recreated scenes from the Bible and The Canterbury Tales, The Aeneid, and Headlong Hall to an amusement park ride and a penal colony, a flophouse and a garden. Bodacious verbal and visual images build in power until they soar as pilgrims tell tales to pass the night while waiting to cross the river; Hawthorne, Sophie, and Melville on the beach hear the ever-encroaching kraken; and Margo Veil essays the roles that all questing mortals play in life.

In the first play in this book, Highway, a man suddenly decides to drive to his girlfriend's house, which is 200 miles away. He becomes obsessed with the thought that each car that passes may be his girlfriend coming to visit him - and as he begins to lose touch with time and place he becomes convinced that he has moved back to another century, another civilization. In the short Intermezzo, a Master of Ceremonies announces, in hilarious detail, all the exotic acts that will not be on the bill that evening. In the final play, Hotel, a down-on-his-luck encyclopedia salesman sits in a flea-bag hotel room, eating Chinese food which is delivered by a disembodied arm, while listening to the squabbling of his neighbors and contemplating the aridity of his limbo-like existence

Ramona Quimby, one of the most loved characters in children's fiction, has now reached third grade. At school, she acquires a new teacher, Mrs. Whaley, who addresses the class as "you guys." At home, she helps the family "squeak by" as her father returns to college to become an art teacher. All the Quimbys have their ups and downs, but none feels them more intensely than Ramona. Her low point is undoubtedly reached the day she throws up in class and Mrs. Whaley instructs the children to hold their noses and file into the hall. But three days later Ramona recovers her verve sufficiently to give a book report in the style of a T.V. commercial, bringing down the house with her final ad-lib line of "I can't believe I read the whole thing!" Writing with humor and compassion, Beverly Cleary continues her chronicle of a child's growth and lovingly reaffirms the durability of the memorable Quimby family. They may not be nice all the time, but they stick together through good times and bad.

Renowned editor Lawrence Harbison brings together approximately one hundred never-before-published women’s monologues for actors to use for auditions and in class, all from recently produced plays. The selections include monologues from plays by both well-known playwrights such as Don Nigro, Saviana Stanescu, and Len Jenkin and future stars such as Lia Romeo, Steven Hayet, Lori Fischer, Will Arbery, and Carey Crim. There are terrific comic and dramatic pieces, and all represent the best of contemporary playwriting. This collection is an invaluable resource for aspiring actors hoping to ace their auditions and impress directors and teachers with contemporary pieces.

Subtitled "A History of Science (A Chronicle of Folly, Wisdom, and Madness)," PORT TWILIGHT has been described as "an end-times extraterrestrial vaudeville." "Len Jenkin's dark, whirling comedy, PORT TWILIGHT, follows several storylines as they trail throughout the fantasy city of the title. All of the stories involve what might be called decoding messages and 'alien contact.' ... thanks to Len Jenkin's language, PORT TWILIGHT makes for a haunting, mind-altering experience." -Jerome Weeks, Art & Seek ..". PORT TWILIGHT is a distinctly playful and yet somber, introspective piece about the foibles and heartbreak of humanity, and its quest for solutions ... It is one of the most original shows I have ever seen. It combines insouciance, weariness, zeal, cynicism, comic relief, melancholy, the indecipherable into a poetically wistful and radiant experience." -Christopher Soden, Pegasus News "Len Jenkin's zippy, atmospheric dialogue. There's a beautiful lyrical quality to it." -Jonathan Pacheco, Slant Magazine