Figs in Wigs are back and this time they've got their period (dresses). After five years of creating avant-garde, boundary pushing, genre-bending contemporary performance, Figs in Wigs have decided the only way to go is backwards...
A daring and unapologetic examination of religion, pop culture and Black representation. Who would you rather pray to? Beyoncé or white Jesus? Jamal grew up Catholic in a Caribbean household, but would rather light a candle and worship celebrities than white saints. Combining African diasporic ritual, music and storytelling, Idol is a spiritual journey that asks what happens when you don't see yourself represented – featuring a host of celebrity appearances.
The scandalous events described in this book occurred in the 1970s. You havent heard of them because they were covered up by the U. S. governmenta cover-up almost as scandalous as the events themselves. Even now, nearly forty years later, the incidents are still classified, and it is with considerable risk to me and my informants that I reveal the truth to the public. Government spokesmen will attack this account and smear me for publishing it, but I believe that the American people, with their healthy skepticism, will refuse to be deceived by government distortions and denials.
She's worked through all the days of the week, scrubbing up both messes and murderers in the village of Long Farnden. But crime is a persistent stain, and when Lois's daughter's boyfriend is left for dead in a ditch, Lois must find a twisted path that leads to arson, local delinquents, secret assignments, and blackmail-before she can discover who's been tinkering with the truth.
From Ann Packer, author of the New York Times best-selling novels The Dive from Clausen’s Pier and Songs Without Words, a collection of burnished, emotionally searing stories, framed by two unforgettable linked narratives that express the transformation of a single family over the course of a lifetime. A wife struggles to make sense of her husband’s sudden disappearance. A mother mourns her teenage son through the music collection he left behind. A woman shepherds her estranged parents through her brother’s wedding and reflects on the year her family collapsed. A young man comes to grips with the joy—and vulnerability—of fatherhood. And, in the masterly opening novella, two teenagers from very different families forge a sustaining friendship, only to discover the disruptive and unsettling power of sex. Ann Packer is one of our most talented archivists of family life, with its hidden crevasses and unforeseeable perils, and in these stories she explores the moral predicaments that define our social and emotional lives, the frailty of ordinary grace, and the ways in which we are shattered and remade by loss. With Swim Back to Me, she delivers shimmering psychological precision, unfailing intelligence, and page-turning drama: her most enticing work yet.
Milbank and Mitchell, dissimilar in size and separated by more than two hundred miles, have more in common than might appear at first glance. In the first half of the twentieth century towns such as Milbank and Mitchell formed hubs for commerce, social activities, and culture. Eric Fowler and Sheila Delaney looked at their communities from different viewpoints, but their childhood and young adult memories of South Dakota share common themes.
"This magical book is a love letter to the artists whose imagination and cleverness transport us and unite us, and to the beauty and fragility of their performance. When I read it I feel like I am constantly on the joyful edge of falling in love, trying so hard to keep hold of the feelings evoked. A very precious book in our precarious times." Vicky Featherstone An anthology of critical essays that draw on a decade of the authors thinking, writing about and working within contemporary performance as critics, producers, dramaturgs, makers, archivists and more. Together, the 40 essays sketch a map of the contemporary performance landscape from avant-garde dance to live art to independent theatre, tracing the contours of its themes, aims, desires and relationship to the wider worlds of mainstream theatre, art and politics. Each essay focuses on a particular artist and these include Bryony Kimmings, Dickie Beau, Forced Entertainment, Scottee, Selina Thompson, Tania El Khoury and Uninvited Guests. Reflecting the radical nature of the work considered, the authors attempt to find a new vocabulary and a non-conventional way of considering live performance in these essays. As both a fresh survey of contemporary performance and an exploration of how to think and write about upstream and avant-garde work, this book should be an essential resource for students, artists and audiences, as well as an accessible entry point for anyone curious to know about the beautiful and strange things happening beyond the UK's theatrical mainstream.