Alan P. Barr has brought together eleven world-class modern plays by women that show not only their artistry but also their variety and their passion. Drawn from nine different countries (other than the United States and England) that use English as their literary language, the plays reflect the concerns of women across the globe. The imagery and dramatic conventions may shift and the tones vary, but the need to be strong (and its difficulty), the sense of a world that is anything but nurturing or ideal, and the suspect nature of family life and relations are constant themes. The struggle over language, in countries that are very often ex-colonies, conveys the frequent overlap between feminist and postcolonial focuses. The diversity of Englishes on stages from Singapore to South Africa is a lovely curtain call to this theater festival.

The first four stories together in one volume. Follow Rhonda as she takes her business from the heights of success to the depths of ruin. Friends are trampled, loyalties betrayed and worst of all manicures forgotten. Rhonda has many enemies to deal with, all waiting and plotting for her first mistake. Being the beauty salon killer has its good days and bad, Sandra Stone is out to see Rhonda dead.

The essays in this important new collection explore the diverse, unexpected, and controversial ways in which the idea of civil society has recently entered into populist politics and public debate throughout Africa. In a substantial introduction, anthropologists Jean and John Comaroff offer a critical theoretical analysis of the nature and deployment of the concept—and the current debates surrounding it. Building on this framework, the contributors investigate the "problem" of civil society across their regions of expertise, which cover the continent. Drawing creatively on one another's work, they examine the impact of colonial ideology, postcoloniality, and development practice on discourses of civility, the workings of everyday politics, the construction of new modes of selfhood, and the pursuit of moral community. Incisive and original, the book shows how struggles over civil society in Africa reveal much about larger historical forces in the post-Cold War era. It also makes a strong case for the contribution of historical anthropology to contemporary discourses on the rise of a "new world order."

The relationship between Johannesburg's Market Theatre and the economic and political forces of South Africa's apartheid regime was both complex and somewhat ambiguous. The theatre's two founders, Mannie Manim and Barney Simon, however, from idealistic beginnings managed to steer their experimental enterprise around pitfalls ranging from censorship, boycotts and recuperation by big business to the difficulties encountered in finding black authors, let alone black audiences. If the place occupied by the Market institution in apartheid society is emphasized throughout the present study, its contribution to the aesthetic of resistance is also underlined through detailed criticism of the plays and authors dominating the theatre. Pieter-Dirk Uys, Barney Simon's workshop plays and, among others, Black Consciousness plays are subjected to various methods of theatre performance analysis. The reckoning that had to come in the early 1990s revealed itself as globally positive; the reasons for this may be found in the updated concluding part of Playing the Market, which is composed of more general essays (including one on the vibrant Junction Avenue Theatre Company) on how the theatre scene in contemporary South Africa started to change. A postscript reveals more specific aspects of the Market situation in the late 1990s when its hegemony in the New South Africa was already being questioned.

The amazing provision of God through the many troubled times and life lessons are revealed in the author's personal stories of trial and triumph. Her strong testimony and insight will bring hope and encouragement to any reader.

Praise for Color Me Bad: "This is Southern fiction at its absolute best! I, for one, can't wait to visit Blessings, Georgia again!"—Sharon's Garden of Book Reviews Those were the best days of her life... "Poor LilyAnn," the local ladies lament. "She sure is stuck in the past." Eleven years ago, LilyAnn Bronte was the Peachy-Keen Queen of Blessings, Georgia—the prettiest, smartest, and most popular girl in town, going steady with the star quarterback, a high school career on the fast track to success. Then Randy Joe was killed in Iraq, and somehow LilyAnn just let herself go to seed. Ruby, Mabel Jean, Vera, and Vesta of the Curl Up and Dye have been itching to give LilyAnn a makeover, but she knows it would make more than a new hairstyle for her to get her life back. Until one fateful day, when a handsome stranger roars into town, and LilyAnn has a revelation. Maybe the best is yet to come... Praise for Sharon Sala: "Sharon Sala is one of those gifted writers able to touch your heart."—Night Owl Reviews "Sala [has a] rare ability to bring powerful stories to life."—RT Book Reviews "Ms. Sala's characters are so well created...I could tear myself apart."—Long and Short Reviews