Unfinished Projects is a compelling story that uses the lives of three powerful women to discuss sensitive topics such as, racism, self hate, domestic abuse, mental stability and most importantly: love. Through our ups and downs this book teaches us the importance of our family and friends and that there is always good in the world.

Examines the biographical projects that modernist women writers undertook to resist the exclusion of their friends, colleagues, lovers, and companions from literary history.

In this major new reading of Sartre’s life and work, Paige Arthur traces the relationship between the philosopher’s decades-long commitment to decolonization and his intellectual positions. Where other commentators have focused on the tensions between Sartre’s Marxism and his account of existential freedom, usually to denigrate one in favor of the other, Arthur shows how Sartre’s political engagement with global liberation movements and his philosophical framework developed alongside one another. Closely following the postwar movements for decolonization, and then supporting the war of independence in Algeria, Sartre proposed an influential and uncompromising view of imperialism. Analyzing the Western attitude to the ‘subhuman’ colonial subject, he offered an account of the social constraints that applied to both ruler and ruled, and came to argue that political violence—on both sides—was a systematic consequence of the colonial order. Arthur’s rich and nuanced book locates Sartre within the political discussions of his time, whilst also looking forward to contemporary debates about new forms of imperialism and resistance.

Orson Welles and the Unfinished RKO Projects: A Postmodern Perspective traces the impact of legendary director Orson Welles on contemporary mass media entertainment and suggests that, ironically, we can see Welles’s performance genealogy most clearly in his unfinished RKO projects. Author Marguerite H. Rippy provides the first in-depth examination of early film and radio projects shelved by RKO or by Welles himself. While previous studies of Welles largely fall into the categories of biography or modernist film studies, this book extends the understanding of Welles via postmodern narrative theory and performance analysis, weaving his work into the cultural and commercial background of its production. By identifying the RKO years as a critical moment in performance history, Rippy synthesizes scholarship that until now has been scattered among film studies, narrative theory, feminist critique, American studies, and biography. Building a bridge between auteur and postmodern theories, Orson Welles and the Unfinished RKO Projects offers a fresh look at Welles in his full complexity. Rippy trains a postmodern lens on Welles’s early projects and reveals four emerging narrative modes that came to define his work: deconstructions of the first-person singular; adaptations of classic texts for mass media; explorations of the self via primitivism; and examinations of the line between reality and fiction. These four narrative styles would greatly influence the development of modern mass media entertainment. Rippy finds Welles’s legacy alive and well in today’s mockumentaries and reality television. It was in early, unfinished projects where Welles first toyed with fact and fiction, and the pleasure of this interplay still resonates with contemporary culture. As Rippy suggests, the logical conclusion of Welles’s career-long exploration of “truthiness” lies in the laughs of fake news shows. Offering an exciting glimpse of a master early in his career, Orson Welles and the Unfinished RKO Projects documents Welles’s development as a storyteller who would shape culture for decades to come.

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As humanity becomes increasingly interconnected through globalization, the question of whether community is possible within culturally diverse societies has returned as a principal concern for contemporary thought. Lorenzo Simpson charges that the current discussion is stuck at an impasse-between postmodernism's fragmented notions of cultural difference and humanism's homogeneous versions of community. Simpson proposes an alternative-one that bridges cultural differences without erasing them. He argues that we must establish common aesthetic and ethical standards incorporating sensitivity to difference if we are to achieve cross-cultural understanding.

A certain idea of the avant-garde posits the possibility of a total rupture with the past. The Unfinished Art of Theater pulls back on this futuristic impulse by showing how theater became a key site for artists on the semiperiphery of capitalism to reconfigure the role of the aesthetic between 1917 and 1934. The book argues that this “unfinished art”—precisely because of its historic weakness as a representative institution in Mexico and Brazil, where the bourgeois stage had not (yet) coalesced—was at the forefront of struggles to redefine the relationship between art and social change. Drawing on extensive archival research, Sarah J. Townsend reveals the importance of projects and texts that belie the rhetoric of rupture and immediacy associated with the avant-garde: ethnographic operas with ties to the recording industry, populist puppet plays, children’s radio programs about the wonders of technology, a philosophical drama about the birth of a new race, and an antifascist spectacle written for (but never performed at) a theater shut down by the police. Ultimately, the book makes the case that the very category of avant-garde art is bound up in the experience of dependency, delay, and the uneven development of capitalism.