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"At the O'Neill, we were all engaged with full-hearted passion in sometimes the silliest of exercises, and all in service of finding that wiggly, elusive creature, a new play."—Meryl Streep "I would not be who or where I am today without the O'Neill."—Michael Douglas As the old ways of the commercial theater were dying and American playwriting was in crisis, the Eugene O’Neill Theater Center arose as a midwife to new plays and musicals, introducing some of the most exciting talents of our time (including August Wilson, Wendy Wasserstein, and Christopher Durang) and developing works that went on to win Pulitzer Prizes and Tony Awards. Along the way, it collaborated with then-unknown performers (like Meryl Streep, Michael Douglas, Courtney Vance, and Angela Bassett) and inspired Robert Redford in his creation of the Sundance Institute. This is the story of a theatrical laboratory, a place that transformed American theater, film, and television.
Dorothy Markey's family and culture prepared her to be a proper southern lady. Yet Markey broke free of her cultural bonds and became, instead, a feminist, a communist, and, under the pen name Myra Page, a radical journalist and novelist. Her activism on behalf of social justice, racial equality, and women's rights spanned the 1920s through her death in 1993. Page's work carried her far from her Virginia home to Moscow, Mexico, the rural South, and New York. As a journalist she wrote for the Daily Worker, the New Masses, Working Woman, and Southern Worker. Her novels captured workers' struggles in an authentic voice: The Gathering Storm, Daughter of the Hills, and Moscow Yankee. With consummate skill, Christina Baker weaves together historical research, her own and others' conversations with Page, and Page's letters and other writings. The resulting narrative is a vivid recreation of the life of an uncommon woman and her more than seventy years of striving for the things she believed in.
A collection of original essays based on oral history and archival research, this volume illuminates diverse aspects of southern workers' experience in the modern era. Included here are essays on agricultural workers, teachers, and fire fighters, as well as pieces on air transport, paper manufacturing, and aircraft production. Other topics include workers' organizations that fall outside the traditional labor movement and the role of cotton textile workers in the recent history of southern labor relations. Themes involving race, the varieties of union representation, and labor's impact on southern politics are especially prominent throughout this collection.
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What are the environments, the public spaces, in which ordinary people become participants in the complex, ambiguous, engaging conversation about democracy: participators in governance rather than spectators or complainers, victims or accomplices? What are the roots, not simply of movements against oppression, but also of those democratic social movements which both enlarge the opportunities for participation and enhance people's ability to participate in the public world? In Free Spaces, Sara M. Evans and Harry C. Boyte argue for a new understanding of the foundations for democratic politics by analyzing the settings in which people learn to participate in democracy. In their new Introduction, the authors link the concept of free spaces to recent theoretical discussions about community, public life, civil society, and social movements.
No detailed description available for "Social and Moral Reform".
Originally published in 1953, Burning Valley tells the story of Benedict Bulmanis, son of a Lithuanian immigrant steelworker in western Pennsylvania. Determined to become a priest, Benedict faces great inner conflict as he witnesses the steelworkers' struggle against the destruction of their homes as well as the separation of classes that even the church cannot escape. As the story unfolds, Benedict discovers his beliefs and values changing and becomes more sympathetic with the workers and union organizers. Alan Wald's introduction focuses on the semi-autobiographical aspect of Burning Valley as well as its "multifaceted dramatization of ethnicity and race".