In exactly one hour, eighteen minutes, and thirty-five seconds, Mina Mooney will be dipping her pink Nellie timbs into the infamous frosh pit. . . Hoping Del Rio Bay High will live up to her greatest expectations, Mina has big plans for infiltrating the school's social glitterati. After all, she's been mad popular for as long as she can remember—and she isn't about to go from Middle School Royalty to High School Ambiguity. But Del Rio Bay is a big school, so it'll take some plotting to avoid getting lost in the crowd. Good thing she isn't afraid of a little hard work and that her playground peeps—Lizzie, Michael, and JZ—have got her back. But it isn't long before Mina's big plans for securing her social status take a back seat to some drama that was so not expected. Lizzie's scored an invite from the beautiful people that Mina can only dream about, and not only is Michael tripping about being back in school, but now he's beefing with JZ. Worst of all, Mina's sociology class experiment to rid the world—or at least Del Rio Bay High—of prejudice is about to backfire. . .because it might just mean she'll have to rid herself of her very best friend. A novel about friendship, betrayal, and how far some will go for popularity, So Not the Drama takes a fresh and wickedly funny look at planet high school.

She can do anything-and you can help her! So Not the Drama! (Pick a Villain Chapter Book #4): For Kim Possible, being a teen superhero is no big. But when she hears that four of her wackiest archenemies are planning to rob four different branches of the World Bank at the same time, she's got to move super-fast to stop them! Can you help Kim Possible pick the right paths to save the world from financial ruin? Featuring four original mini-adventures and 20 possible endings!

Springtime brings crazy adventures to Nikki and her friends Chloe, Zoey, and Brandon.

How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)

This “rare and compelling” (New York Magazine) bestseller examines childhood trauma and the enduring effects it has on an individual's management of repressed anger and pain. Why are many of the most successful people plagued by feelings of emptiness and alienation? This wise and profound book has provided millions of readers with an answer--and has helped them to apply it to their own lives. Far too many of us had to learn as children to hide our own feelings, needs, and memories skillfully in order to meet our parents' expectations and win their "love." Alice Miller writes, "When I used the word 'gifted' in the title, I had in mind neither children who receive high grades in school nor children talented in a special way. I simply meant all of us who have survived an abusive childhood thanks to an ability to adapt even to unspeakable cruelty by becoming numb.... Without this 'gift' offered us by nature, we would not have survived." But merely surviving is not enough. The Drama of the Gifted Child helps us to reclaim our life by discovering our own crucial needs and our own truth.

In this volume, 15 contributions discuss the role or roles of early modern ('literacy' and non-literary) forms of theatre in the formation of public opinion or its use in making statements in public or private debates.