Hippies and Bolsheviks and Other Plays collects three works by one of Canada's dramatic luminaries. Hippies and Bolsheviks is set in that hotbed of hippie idealism, 1970s British Columbia. Young Star stumbles home from a Led Zeppelin concert with a draft dodger and sets in motion a crisis of love and of faith in their idealism against the Establishment. In Lena's Car , a woman whose marriage is on the verge of collapse reflects on how it got to that point, harkening back to a youth when things were both more simple and more complicated. In The Wedding Pool , a group of dissatisfied single friends decide to each contribute fifty dollars a month to a pool to be collected by the first one to marry. But when one of the friends starts dating the bank teller who opens their account, the others are forced to confront their ideas about loneliness and personal responsibility. ' The Wedding Pool is a particularly smart and entertaining example of the thirtysomething angst genre.' - The Globe and Mail 'If Hippies and Bolsheviks is any indication of the quality of work at this years playrites Festival, Calgary theatregoers are in for a phenomenal month.' Calgary Sun

In the last decades of the twentieth century, North American drama has powerfully enacted the problematic notions of cultural memory and identity, as the essays assembled in this critical anthology demonstrate. Echoing Derrida's non-essentialist interpretation of the term «signature», this collection provides an innovative focus on North American theatre and drama as a site of latent cultural memories. In this volume, the concept of cultural memory offers a privileged vantage point from which to redefine issues of diasporic identities, exilic predicaments, and multi-ethnic subject positions at the dawn of a new century. Playwrights examined here include noted Canadian and US artists such as Marie Clements, Eva Ensler, Lorraine Hansberry, Tomson Highway, Cherríe Moraga, Djanet Sears, Guillermo Verdecchia, August Wilson, and Chay Yew, to cite but a few. In the process of remembering, North American dramatists develop new aesthetic modes in which the signatures of the past merge with the present and foreshadow an imagined future.

Series sets out to make the best critical and scholarly work in the field readily available.

Among the most significant subcultures in modern U.S. history, the hippies had a far-reaching impact. Their influence essentially defined the 1960s--hippie antifashion, divergent music, dropout politics and "make love not war" philosophy extended to virtually every corner of the world and remains influential. The political and cultural institutions that the hippies challenged, or abandoned, mainly prevailed. Yet the nonviolent, egalitarian hippie principles led an era of civic protest that brought an end to the Vietnam War. Their enduring impact was the creation of a 1960s frame of reference among millions of baby boomers, whose attitudes and aspirations continue to reflect the hip ethos of their youth.

Flowers through Concrete: Explorations in Soviet Hippieland takes the reader on a journey into the lives and thoughts of Soviet hippies. In the face of disapproval and repression, they created a version of Western counterculture, skillfully adapting to, manipulating, and shaping their late socialist environment. Flowers through Concrete takes its readers into the underground hippieland and beyond, situating the world of hippies firmly in late Soviet reality and offering both an unusual history of the last Soviet decades as well as a case study of transnational youth culture and East-West globalization. Flowers through Concrete is based on over a hundred interviews, declassified documents, and private archives hidden for many decades. It tells the almost forgotten story of how hippie communities sprang up across the Soviet Union in the late-60s, often under the tutelage of the rebellious offspring of privileged households at the heart of the Soviet establishment. It charts how these communities linked up to create an impressive network with elaborate customs and rituals, ensuring its survival for more than two decades. Flowers through Concrete recounts not only a compelling story of survival against the odds - hippies who were harassed by police, shorn of their hair by civilian guards, and confined in psychiatric hospitals by doctors who believed non-conformism was a symptom of schizophrenia - but also advances a surprising argument. It suggests that the land of Soviet hippies and the world of late socialism were not entirely incompatible, but in fact meshed surprisingly well. Ultimately, it was not the KGB but the arrival of capitalism in the 1990s that ended the Soviet hippie sistema.

Many know of Shambhala, the Tibetan Buddhist legendary land of spiritual bliss popularized by the film, Shangri-La. But few may know of the role Shambhala played in Russian geopolitics in the early twentieth century. Perhaps the only one on the subject, Andrei Znamenski’s book presents a wholly different glimpse of early Soviet history both erudite and fascinating. Using archival sources and memoirs, he explores how spiritual adventurers, revolutionaries, and nationalists West and East exploited Shambhala to promote their fanatical schemes, focusing on the Bolshevik attempt to use Mongol-Tibetan prophecies to railroad Communism into inner Asia. We meet such characters as Gleb Bokii, the Bolshevik secret police commissar who tried to use Buddhist techniques to conjure the ideal human; and Nicholas Roerich, the Russian painter who, driven by his otherworldly Master and blackmailed by the Bolshevik secret police, posed as a reincarnation of the Dalai Lama to unleash religious war in Tibet. We also learn of clandestine activities of the Bolsheviks from the Mongol-Tibetan Section of the Communist International who took over Mongolia and then, dressed as lama pilgrims, tried to set Tibet ablaze; and of their opponent, Ja-Lama, an “avenging lama” fond of spilling blood during his tantra rituals.