'Terrific! With a dynamically deft touch, Philip Gefter chronicles how a uniquely volatile mix of timing, talent, pressure, and passion turned a landscape-altering play into a cinematic detonation. Savor this juicy bit of time travel, because we'll never see the likes of these people and these circumstances again' Steven Soderbergh From its debut in 1962, Edward Albee's Who's Afraid of Virginia Woolf? was a wild success and a cultural lightning rod. The play transpires over one long, boozy night, laying bare the lies, compromises, and scalding love that have sustained a middle-aged couple through decades of marriage. It scandalised critics but magnetised audiences. Then, Hollywood took a colossal gamble on Albee's sophisticated play and won. Co-starring Elizabeth Taylor and Richard Burton, the sensational 1966 film won five Oscars. How this scorching play became a movie classic-surviving censorship attempts, its creators' inexperience, and its stars' own tumultuous marriage, is one of the most riveting stories in all of cinema. Acclaimed author Philip Gefter traces Woolf from its hushed origins in Greenwich Village, through its tormented production process, to its explosion onto screens and permanent place in the canon of cinematic marriages. He explores how two couples - one fictional, one all too real - brought to light our most deeply held myths about relationships, sex, family, and, against all odds, love.

A delightful history of cocktails from the era of new interstate highways, sprouting suburbs, and atomic engineering America at midcentury was a nation on the move, taking to wings and wheels along the new interstate highways and in passenger jets that soared to thirty thousand feet. Anxieties rippled, but this new Atomic Age promised cheap power and future wonders, while the hallmark of the era was the pleasure of an evening imbibing cocktails in mixed company, a middle-class idea of sophisticated leisure. This new age, stretching from the post–World War II baby boom years through the presidency of General Dwight Eisenhower into the increasingly volatile mid-1960s, promised affordable homes for those who had never dreamed of owning property and an array of gleaming appliances to fill them. For many, this was America at its best—innovation, style, and the freedom to enjoy oneself—and the spirit of this time is reflected in the whimsical cocktails that rose to prominence: tiki drinks, Moscow mules, Sea Breezes, Pina Coladas, Pink Squirrels, and Sloe Gin Fizzes. Of course, not everyone was invited to the party. Though the drinks were getting sweeter, the racial divide was getting more bitter—Black Americans in search of a drink, entertainment, or a hotel room had to depend on the Green Book for advice on places where they would be welcome and safe. And the Cold War and Space Race proceeded ominously throughout this period, as technological advances alternately thrilled and terrified. The third installment in Cecelia Tichi’s tour of the cocktails enjoyed in various historical eras, Midcentury Cocktails brings a time of limitless possibilities to life though the cocktails created, named, and consumed.

George and Martha meet in a seedy motel room on the night before the Republican National Convention. Their affair goes way back, before George stole the election, before Martha built an empire on fascist domesticity. As usual, George numbs his pain over waging perpetual war with cocaine and the promise of kinky sex. Martha is forced to take a long view of her life as she suffers the public humiliation of corporate scandal, on the brink of going to prison. Written in the style of Albee's Who's Afraid of Virginia Woolf, George & Martha is Karen Finley's most scandalous work to date, a hilarious satire that takes a radical stand on political power, psychosexual relations between men and women, and the current state of affairs. Lavishly illustrated with drawings by the author.

THE STORY: George, a professor at a small college, and his wife, Martha, have just returned home, drunk from a Saturday night party. Martha announces, amidst general profanity, that she has invited a young couple--an opportunistic new professor at t

Any law school graduate will tell you that when picking your outline tool you need to pick the best because your outlines are the most important study tool you will use throughout your law school career. Developed by legendary study aid author Steve Emanuel, Emanuel® Law Outlines (ELOs) are the #1 outline choice among law students. An ELO ensures that you understand the concepts as you learn them in class and helps you study for exams throughout the semester. Here's why you need an ELO from your first day of class right through your final exam: ELOs help you focus on the concepts and issues you need to master to succeed on exams. They are easy to understand: Each ELO contains comprehensive coverage of the topics, cases, and black letter law found in your specific casebook, but is explained in a way that is understandable. The Quiz Yourself and Essay Q&A features help you test your knowledge throughout the semester. Exam Tips alert you to the issues and fact patterns that commonly pop up on exams. The Capsule Summary provides a quick review of the key concepts covered in the full Outline—perfect for exam review!

For over fifty years, Oral Interpretation has successfully prepared students to analyze and perform literature through an accessible, step-by-step process. The authors classic commitment to helping students understand literature then to embody and evoke the work has been refined to offer students a more concise, user-friendly process that will help them succeed in their daunting first performance. Updated with a tightly edited collection of classic and contemporary selections, each chapter provides a wide variety of selections for students at all levels. Chapters devoted to each genre---narrative, poetry, drama, group performance–explore the unique challenges of each form while newly revised chapters on Using the Body and Using the Voice in performance introduce students to technical exercises to promote performance flexibility.

Couples spend an enormous amount of time and energy planning for the perfect wedding. But what about planning for the perfect marriage? In these times of rampant divorce and "relationship" crises, it makes sense to think seriously about the many challenges of married life that loom so large today. The Book of Marriage offers a treasury of marital wisdom from across the ages. Intellectually engaging, morally rich, and ideologically balanced, this anthology gathers some of the deepest, wittiest, and most edifying perspectives on the big questions of married life: Why get married at all? Can love last a lifetime? How do we handle money? Who's the boss? What about children? Conflict? Growing old? Illness and death? There is even a chapter on divorce -- one calculated to save a few marriages. To date there has been no single comprehensive book of source readings on marriage and family life. Assembled with the aid of noted scholars from various fields, this volume treats marriage as more than just a relationship -- as an institution, a vocation, and a source of great spiritual and emotional rewards. Each chapter introduces a different quandary of marriage and then culls the best from ancient and modern writings on the theme. The compendium of cultural wisdom on marriage ranges from the Bible and Eastern wisdom to Aristotle, St. Augustine, Maimonides, and Judith Wallerstein; from Homer, Shakespeare, Milton, and Jane Austen to Edward Albee, Gabriel Garcia Marquez, and Bill Cosby. An important resource for young adults, college students, engaged and married couples, educators, marriage counselors, therapists, pastors, and other family professionals, The Book of Marriage celebrates the diversity and essential humanity of the marital experience in a way that is accessible, entertaining, and eminently useful.

This study presents a new perspective on small talk and its crucial role in everyday communication. The new approach presented here is supported by analyses of interactional data in specific settings - private and public, face-to-face and telephone talk. They vary from gossip at the family dinner table and intimate 'keeping in touch' phone conversations, to interpersonally-focused talk in institutional settings, such as the government office and the university research seminar. Drawing on a range of methodological approaches, including Discourse Analysis and Pragmatics, Interpersonal Communication and Conversation Analysis, the author elevates small talk to a new status, as functionally multifaceted, but central to social interaction as a whole.

'A systematic and engaging approach to creative writing' - Carla Harryman, Wayne State University By suggesting that students who are not born poets can yet learn to become good ones, Smith performs a very important service.' - Professor Susan M. Schultz, University of Hawaii This is an impressive book, because it covers areas of creative writing practice and theory that have not been covered in published form It links radical practice with radical (but better-known) theory, and will appeal to anyone looking for a different approach ' - Robert Sheppard, Edge Hill College of Higher Education, UK The Writing Experiment demystifies the process of creative writing, showing that successful work does not arise from talent or inspiration alone. Hazel Smith breaks down writing into incremental stages, revealing processes that are often unconscious or unacknowledged, and shows how they can become part of a systematic writing strategy. The book encourages writers to take an explorative and experimental approach to their work. It relates practical strategies for writing to major twentieth century literary and cultural movements, including postmodernism. Suitable for both beginners and experienced writers, The Writing Experiment covers many genres including fiction, poetry, writing for performance and new media. Each chapter is illustrated with extensive examples of both student work and published writing, and challenging exercises offer writers at all levels opportunities to develop their skills.

This study is divided into four sections, whose general topics trace various manifestations of misogyny in nineteenthand twentieth-century drama. Recent attempts to dismantle and expose relations between gender and spectacle receive attention in a volume that suggests exciting possibilities for a revision of theater.