A key way to view Latina plays today is through the foundational frame of playwright and teacher, Maria Irene Fornes, who has transformed American theatre. Considering Fornes's legacy, Anne García-Romero shows how five award-winning playwrights continue to contest and complicate Latina theatre.

A key way to view Latina plays today is through the foundational frame of playwright and teacher Maria Irene Fornes, who has trained a generation of theatre artists and transformed the field of American theatre. Fornes, author of Fefu and Her Friends and Sarita and a nine-time Obie Award winner, is known for her plays that traverse cultural, spiritual, and aesthetic borders. In The Fornes Frame: Contemporary Latina Playwrights and the Legacy of Maria Irene Fornes, Anne García-Romero considers the work of five award-winning Latina playwrights in the early twenty-first century, offering her unique perspective as a theatre studies scholar who is also a professional playwright. The playwrights in this book include Pulitzer Prize–winner Quiara Alegría Hudes; Obie Award–winner Caridad Svich; Karen Zacarías, resident playwright at Arena Stage in Washington, DC; Elaine Romero, member of the Goodman Theatre Playwrights Unit in Chicago, Illinois; and Cusi Cram, company member of the LAByrinth Theater Company in New York City. Using four key concepts—cultural multiplicity, supernatural intervention, Latina identity, and theatrical experimentation—García-Romero shows how these playwrights expand past a consideration of a single culture toward broader, simultaneous connections to diverse cultures. The playwrights also experiment with the theatrical form as they redefine what a Latina play can be. Following Fornes’s legacy, these playwrights continue to contest and complicate Latina theatre.

Major new collection of Latina/o contemporary work for the stage.

In a Spanglish-speaking land, Juanita disguises herself as a man to escape the wrath of her lover Ignacio's father. Masquerading as a "new" Don Juan, she careens through the city and seduces Alejandra, a wealthy art collector, Tomas, a leather bar patron and Beatriz, an innocent, society bride, who all fall instantly in love with him/her. Juanita's romp soon lands her squarely at the feet of Don Juan himself as she struggles to find true love. "The power of language creates worlds, realms and most importantly, relationships ... that power is evident as Juanita, a young woman living in a Spanglish-speaking land, tries on a different persona in order to escape from her lover's angry father and potential shame in her community." -Elaine Noble, Nevada Today "Throughout the play, 'Don Juanita' draws more and more attention to herself, attracting the love and care of a multitude of people along the way. The social aspects of the play are fascinating because Juanita basically tries to deconstruct what being a Don Juan is and strives to create a better version of him." -Juan Lopez, The Nevada Sagebrush"

One of Off-Broadway's best-loved plays, originally directed by the author. The audience follows the lives of eight women. For this play, Maria Irene Fornes received one of her nine Obie awards. "A wonderful, important play." Susan Sontag "Fornes is America's truest poet of the theater." Erika Munk "An extraordinary play of uncommon insight and wit." Los Angeles Herald Examiner "One of the most powerful plays written about the mysteries and shared hallucinations of the female experience." L A Weekly "Though written in 1977, the message of FEFU AND HER FRIENDS remains ever the same: women don't know what to do with feminism. Or rather, they don't know what to do with themselves. It's a strange, unsettling play, not least because the strong women characters are at a loss with each other and with themselves. Without a man to center around, they disintegrate into cattiness and then madness. Fefu is probably deranged to begin with. She 'pretends' to shoot her husband with a gun that may or may not be loaded. She likes men better than women and in fact finds women 'loathsome.' Fefu and her friends are a group of society women, circa 1935. They're bored and affected in the manner of wealthy women who have too much free time. The play begins with plans for a charity benefit being planned at Fefu's New England estate. During the second part, four different scenes play simultaneously in four different rooms. The audience is led around to each in no particular order. In the final act, the women turn giggly, then bitchy, and then everything takes a tragic turn. Though not a realistic play neither is it strictly allegorical...at the heart of the play [is] 'a provocative statement about women to this day.' Fornes's self-loathing, self-doubting women only gradually come to understand the glossy surface and the dark underbelly that is the dual reality of their lives. It's thought-provoking but challenging, not for those who enjoy escapism in their theatre." Jenny Sandman, CurtainUp"

Collects Daredevil (2018) #6-10. The Man Without Fear is missing! Daredevil has disappeared from Hell’s Kitchen — and in his absence, the real devils are starting to come out to play. Detective Cole North may think he’s stopped Daredevil, but there are bigger problems coming his way! Meanwhile, Matt Murdock has emerged from his recent ordeals a changed man — but has he changed for better or worse? As he faces up to the choices he has made, Matt grapples with who he is and who he wants to be. Can he truly live a life without the suit?