A director's brilliant inquiry into the problems--and solutions--of staging, filming, and acting classics for modern audiences. 90 black-and-white and color illustrations.

"To maintain the integrity of their reputation as the galaxy's mercenary elite, the soldiers of the barren world of Metzada adhere to a rigid code of loyalty and honor reminiscent of their Jewish-Israeli ancestors. When a veteran soldier apparently betrays the code, it becomes the ongoing task of his nephew to terminate him if he can. With the same gritty realism found in Emile and the Dutchman, this delivers fact-paced sf action-adventure with a refreshing twist."--Goodreads

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These stories are dark & diverting.They move effortlessly between wildly differ-ing locations.They explore subjects contemporary & complex.Best of all they gleam with intelligence and sardonic wit.

In fact, her money didn't matter to him. He liked Alicia for herself and felt comfortable being with her. But maybe Kerry didn't know her as well as he thought. After a shocking wave of teenage suicides, he got a call from Alicia's stepmother. "Alicia has killed herself. Like the others...just like the others." In a world where everything was suddenly cloudy and confused, one thing was certain: Alicia was nothing like the others. She would never kill herself, not the Alicia Kerry knew. But if it wasn't suicide, then what killed her -- and why...?

POEMS

States of Fantasy is Jacqueline Rose's striking contribution to the current controversy about the nature and limits of English studies. Why has relatively little attention been paid to Israel/Palestine and South Africa, both of which have the strongest historical and political links to Britain as well as to each other? What can these two arenas of historic conflict tell us about the limits of the literary imagination? What new imaginary worlds are being built in the present at the very moment when the literary institution attempts to shed the false dreams of the past?

"History teacher Horace Edgecomb finds himself teaching the daughter of a leading "American Civil War denier" and must confront an organization determined to disprove the occurrence of the Civil War in this satire of historical revisionism"--Publisher.

In his historic play The Melting Pot, Israel Zangwill (1864–1926) introduced into our discourse a potent metaphor that for nearly a hundred years has served as a key definition of the United States. The play, enthusiastically espoused by President Theodore Roosevelt, to whom it was dedicated, offered a grand vision of America as a dynamic process of ethnic and racial amalgamation. By his own admission, The Melting Pot grew out of Zangwill's intense involvement in issues of Jewish immigration and resettlement and was grounded in his interpretation of Jewish history. Zangwill, Anglo Jewry's most renowned writer, began writing seriously for the stage in the late 1890s. At the time, the negative stereotype of the so-called Stage Jew was still deeply entrenched in the theatrical mainstream, so much so that Jewish playwrights writing for the English-language stage avoided altogether the portrayal of Jewish life. Zangwill shattered this silence in 1899 with the American premiere of Children of the Ghetto―his first full-length drama, and the first English-language play devoted in its entirety to the depiction of Jewish life in an authentic and positive fashion. The play's groundbreaking production drew tremendous attention and generated heated debates, but since the script was never published, the memory of the passions it generated dimmed, and its whereabouts eventually became unknown. After more than a century, theater historian Edna Nahshon has discovered the original manuscript of this milestone text, as well as that of another unpublished Zangwill play, The King of Schnorrers, and the original version of The Melting Pot. Nahshon brings these three works together in print for the first time in From the Ghetto to the Melting Pot. Edna Nahshon's in-depth introduction to this volume includes a biography of Israel Zangwill that especially pertains to these works and situates them within the Anglo-American theater of the time. The essays preceding each play provide rich and hitherto unknown information on the scripts, their stage productions, and their popular and critical reception. While some issues addressed in From the Ghetto to the Melting Pot are uniquely Jewish, others are universal and typical of the negotiation of self-presentation by ethnic and minority groups, particularly within the American experience.

CONTENTS: MECANICA by Frank Edward Arnold THE MARTIANS ARE COMING by Robert W. Lowndes CRYSTAL WORLD by John L. Chapman THE MAN FROM THE FUTURE by Donald A. Wollheim RETURN FROM M-15 by S. D. Gottesman PLANET LEAVE by Clifton B. Kruse THE SECRET SENSE by Isaac Asimov WORLDS IN EXILE by Elton V. Andrews THE LAST VIKING by Hugh Raymond AMBITION by Wilfred Owen Morley PURPLE DANDELIONS by Millard Verne Gordon THE ROCKET by Damon Knight THE REVERSIBLE REVOLUTIONS by Cecil Corwin BIPED by Basil Wells

Retells a folktale in which Lailah, a guardian angel, places the indentation that everyone has on the upper lip just before a baby is born.

The Report on Unidentified Flying Objects

Nosferatu: A Play in Five Acts, based upon the 1922 German Expressionist film by F.W. Murnau. An estate agent travels to Transylvania to close a real estate deal only to, unknowingly, bring a vampire, and the plague that follows him, to destroy his quiet village.

"You have two days to pass your audition. You better pass it, feller. You’re joining the circus. Ain’t that the best news you ever got?"Delivered by a trio of psychotic clowns, this ultimatum plunges Jamie into the horrific alternate universe that is the centuries-old Pilo Family Circus, a borderline world between Hell and Earth from which humankind’s greatest tragedies have been perpetrated. Yet in this place—peopled by the gruesome, grotesque, and monstrous—where violence and savagery are the norm, Jamie finds that his worst enemy is himself.When he applies the white face paint, he is transformed into JJ, the most vicious clown of all. And JJ wants Jamie dead!