The Black Monk has been called a singular "collaboration" between two writers: Anton Chekhov and David Rabe. Based on Chekov's novella of the same name, Rabe's brilliant stage adaptation tells the story of Kovrin, the young philosophy student who returns from Moscow to the estate owned by Pesotsky, where he spent his youth. Kovrin and Pesotsky's daughter, Tanya, soon fall in love and plan to marry. But the appearance of an emissary from the unknown -- the black monk -- threatens to have a devastating effect on all of them. Trouble starts in when Teresa tells her brother Joey that this guy Ray did something to her with his dog in bed. Nobody seems to know exactly what happened, but they do know that somebody's got to pay. So what is The Dog Problem? It starts with being born into a world where the wrong thing said to the wrong person ignites a chain reaction of misplaced passions and galloping sentences that race to a deadly conclusion. The playful title is revealed to be a wry pun on the Cartesian mind/body problem, as Uncle Mal, the aging mobster, must face his turn to be the dog in this darkly funny play about men, women, sex, betrayal, and ghosts. Vastly different in their aesthetic, these two recent and highly praised plays embody all of the celebrated hallmarks of David Rabe's writing and art: unflinchingly honest and perceptive themes, starkly luminous dialogue, and the unsettling humor that have made him an icon of the American theater for more than forty years.

Kovrin arrives at Pesotsky's estate, where he spent his childhood, to find the orchard filled with smoke and threatened by frost. When dawn arrives, the orchard is saved and, in the following weeks, Kovrin finds joy away from the demands of city and university life, begins to see Pesotsky's daughter Tanya in a new light, and becomes aware that Pesotsky is troubled about the survival of his magnificent gardens. He remains tormented by a subtle, original idea. An emissary from the unknown, the legendary Black Monk, appears to Kovrin, bringing opportunies and risks from invisible realms into the concrete world. While love makes certain claims in uncertain ways, Kovrin, Pesotsky and Tanya face choices that have consequences beyond the desired and foreseen.

Two plays exploring the struggle of mental illness by the Tony Award–winning “giant of American theater” and author of Hurlyburly (Chicago Tribune). Good for Otto, which premiered in October 2015 at the Gift Theatre in Chicago, is a “sprawling drama of mental illness” in which “Mr. Rabe digs into his subject with a depth that almost feels bottomless.” Drawing on material from Undoing Depression by psychotherapist Richard O’Connor, it explores the lives of a therapist and his many patients, all trying to navigate personal trauma (Charles Isherwood, The New York Times). Visiting Edna, which premiered in September 2016 at the Steppenwolf Theatre in Chicago, is a drama of “deeply searing power” about the bond between mother and son. As Edna faces a short future plagued by her many illnesses—and a cancer that looms so large it becomes another character—she and her adult son struggle to communicate about their shared past as they contemplate the future (Variety). Taken together, the plays offer a satisfying glimpse into “Rabe’s theatrical universe . . . at once vivid and mysterious, a pageant and a puzzle” of contemporary American life (John Lahr, The New Yorker). “Many would list [Rabe] among the very greatest of living playwrights.” —Chris Jones, Chicago Tribune

Historical Dictionary of Contemporary American Theater. Second Edition covers theatrical practice and practitioners as well as the dramatic literature of the United States of America from 1930 to the present. The 90 years covered by this volume features the triumph of Broadway as the center of American drama from 1930 to the early 1960s through a Golden Age exemplified by the plays of Eugene O’Neill, Elmer Rice, Thornton Wilder, Lillian Hellman, Tennessee Williams, Arthur Miller, William Inge, Lorraine Hansberry, and Edward Albee, among others. The impact of the previous modernist era contributed greatly to this period of prodigious creativity on American stages. This volume will continue through an exploration of the decline of Broadway as the center of U.S. theater in the 1960s and the evolution of regional theaters, as well as fringe and university theaters that spawned a second Golden Age at the millennium that produced another – and significantly more diverse – generation of significant dramatists including such figures as Sam Shepard, David Mamet, Maria Irené Fornes, Beth Henley, Terrence McNally, Tony Kushner, Paula Vogel, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, and numerous others. The impact of the Great Depression and World War II profoundly influenced the development of the American stage, as did the conformist 1950s and the revolutionary 1960s on in to the complex times in which we currently live. Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1.000 cross-referenced entries on plays, playwrights, directors, designers, actors, critics, producers, theaters, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about American theater.

Tales from the Tony Award–winning playwright: “Not only an exhibition of David Rabe’s acclaimed dramatic powers but also proof of his narrative magic” (Billy Collins, former US Poet Laureate). David Rabe, playwright of Hurlyburly and In the Boom Boom Room, brings his intense vision to the world of fiction with a short story collection of astonishing range and versatility. Whether he is writing about a marriage shadowed by the unacknowledged discord of a risky pregnancy, a group of men whose attempt to settle an account launches them toward unexpected violence, or a young journalist who believes he’s escaped his Catholic roots only to be forced again to confront them by a priest who once mentored his writing, Rabe’s strong, true voice tenders an inimitable portrait of America and offers benediction to her lost souls. A Primitive Heart confirms the mastery of a writer and establishes David Rabe as an exciting voice in fiction. “Rabe has a way of implicating the reader—of creating a near-claustrophobic bond with his restless characters, writing so convincingly that the subtext becomes almost palpable, accruing darkly, like a storm. Okay: I’m eating my heart out.” —Ann Beattie, PEN/Malamud Award–winner “These are gripping stories, hard to put aside, that cut so close to primitive emotional truths that they can be painful to read . . . That vivid confusion—the desire to understand something more primitive than thought—makes these stories unforgettable.” —The Seattle Times “David Rabe demonstrates in this new collection of short stories that his talent for dialogue is just as dazzling inside a prose narrative as it is on stage.” —The Baltimore Sun

In these disquieting tales of confronting the past, the author and playwright showcases his “keen ear for how people talk, think, and behave” (Publishers Weekly). Listening for Ghosts collects some of David Rabe’s most compelling short fiction of the past few years, including three stories that appeared in the New Yorker. In “Things We Worried About When I Was Ten,” a group of seemingly carefree Midwestern boys are revealed to be egregiously uncared for by their parents. “The Longer Grief” is a slow-motion explosion, as one moment in time propels shards of reckoning through the shared history of a brother and sister. In “Uncle Jim Called,” a man cooking stir fry answers a phone call from the dead . “Suffocation Theory” slyly depicts our off-kilter and increasingly apocalyptic world. In the novella, I Have to Tell You, the elderly tenants of a Midwestern apartment complex seek fairness from a conniving landlord. When an emergency stay in the hospital brings a near-octogenarian named Emma face-to-face with looming injustice, she finds herself burdened with two mysteries to solve. She may never get to the bottom of them, but she is determined to do all she can. Also included are “Things We Worried About When I Was Ten,” which won the 2021 O. Henry Prize, and “The Longer Grief,” which won first prize in the 2019 Narrative Story Contest.

Contains the scripts of nine significant plays of the modern theater, written between 1944 and 1975 by playwrights including Harold Pinter, Bertolt Brecht, Samuel Beckett, Friedrich Durrenmatt, Jean Genet, Eugene Ionesco, Slawomir Mrozek, Tom Stoppard, and David Mamet.

A tale traversing a single day in small-town Iowa finds recent divorcee Janet's quest for solitude interrupted by an elderly widow who claims she is going to be "delivered to Rapture" that evening and hopes that Janet will care for her pets. By the playwright of Hurlyburly. 35,000 first printing.

The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material. The major playwrights and their works to receive in-depth coverage in this volume include: * David Rabe: The Basic Training of Pavlo Hummel; Sticks and Bones; and Streamers; * Sam Shepard: Curse of the Starving Class; Buried Child; and True West; * Ntozake Shange: For colored girls who have considered suicide/when the rainbow is enuf; Spell #7; and Boogie-Woogie Landscapes * Richard Foreman: Sophia = (Wisdom) Part 3; The Cliffs; Pandering to the Masses: A Misrepresentation; and Rhoda in Potatoland (Her Fall-Starts).

David Rabe’s award-winning Vietnam plays have come to embody our collective fears, doubts, and tenuous grasp of a war that continues to haunt. Partially written upon his return from the war, Girl by the Road at Night is Rabe’s first work of fiction set in Vietnam—a spare and poetic narrative about a young soldier embarking on a tour of duty and the Vietnamese prostitute he meets in country. Private Joseph Whitaker, with Vietnam deployment papers in hand, spends his last free weekend in Washington, DC, drinking, attending a peace rally, and visiting an old girlfriend, now married. He observes his surroundings closely, attempting to find reason in an atmosphere of hysteria and protest, heightened by his own anger. When he arrives in Vietnam, he happens upon Lan, a local girl who submits nightly to the American GIs with a heartbreaking combination of decency and guile. Her family dispersed and her father dead, she longs for a time when life meant riding in water buffalo carts through rice fields with her brother. Whitaker’s chance encounter with Lan sparks an unexpected, almost unrecognized, visceral longing between two people searching for companionship and tenderness amid the chaos around them. In transformative prose, Rabe has created an atmosphere charged with exquisite poignancy and recreated the surreal netherworld of Vietnam in wartime with unforgettable urgency and grace. Girl by the Road at Night is a brilliant meditation on disillusionment, sexuality, and masculinity, and one of Rabe’s finest works to date.