A revealing collection of words, memories and pictures-an autobiographical scrapbook--by an outstanding contemporary playwright.

In her first new work in a decade, Adrienne Kennedy journeys into Georgia and New York City in the 1940s to lay bare the devastating effects of segregation and its aftermath. The story of a doomed interracial love affair unfolds through fragmented pieces--letters, recollections from family members, songs from the time--to present a multifaceted view of our cultural history that resists simple interpretation. This volume also includes Etta and Ella on the Upper West Side and Mom, How Did You Meet The Beatles?

THE INSPIRATIONAL CLASSIC FROM THE MASTER STORYTELLER WHOSE BOOKS HAVE TOUCHED THE HEARTS OF OVER 40 MILLION READERS 'Mitch Albom sees the magical in the ordinary' Cecilia Ahern _________ To his mind, Eddie has lived an uninspiring life. Now an old man, his job is to fix rides at a seaside amusement park. On his eighty-third birthday, Eddie's time on earth comes to an end. When a cart falls from the fairground, he rushes to save a little girl's life and tragically dies in the attempt. When Eddie awakens, he learns that the afterlife is not a destination, but a place where your existence is explained to you by five people - some of whom you knew, others who were ostensibly strangers. One by one, from childhood to soldier to old age, five individuals revisit their connections to Eddie on earth, illuminating the mysteries of his 'meaningless' life and revealing the haunting secret behind the eternal question: 'Why was I here?' __________ WHAT READERS SAY ABOUT THE FIVE PEOPLE YOU MEET IN HEAVEN 'Breathtakingly beautiful. A story that will stay with you forever' 'A beautiful and flawlessly choreographed book . . . No other book may ever compare' 'One of my favourite books . . . Wonderful, inspirational, and heart-warming! To me, it is a MUST READ! 'The book is beyond words . . . Well written, engaging, poignant' 'This really is a wonderful book. You should read it'

Readers and acolytes of the vital early 1950s-mid 1960s writers known as the Beat Generation tend to be familiar with the prose and poetry by the seminal authors of this period: Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, Diane Di Prima, and many others. Yet all of these authors, as well as other less well-known Beat figures, also wrote plays-and these, together with their countercultural approaches to what could or should happen in the theatre-shaped the dramatic experiments of the playwrights who came after them, from Sam Shepard to Maria Irene Fornes, to the many vanguard performance artists of the seventies. This volume, the first of its kind, gathers essays about the exciting work in drama and performance by and about the Beat Generation, ranging from the well-known Beat figures such as Kerouac, Ginsberg and Burroughs, to the “Afro-Beats” - LeRoi Jones (Amiri Baraka), Bob Kaufman, and others. It offers original studies of the women Beats - Di Prima, Bunny Lang - as well as groups like the Living Theater who in this era first challenged the literal and physical boundaries of the performance space itself.

By engaging current approaches to the genre, Autobiographical Inscriptions breaks new ground in the field of autobiography studies. The book is centered in a discussion of the ways that innovations of form and structure contain and bolster arguments for personhood articulated by Harriet Jacobs, Zora Neale Hurston, Hisaye Yamamoto, Maxine Hong Kingston, Leslie Marmon Silko, Adrienne Kennedy, and Cecile Pineda. Organized thematically, with each chapter focusing on central questions of form, this work pairs canonized texts with less well-known works, reading autobiographical works across cultural contexts, historical periods, and artistic media, and illustrating the stunning range of formal strategies available to and adopted by the American woman writer of color.