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  The Carrying - Poems

  Ada Limón

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  NBCC Award Winner: “The narrative lyrics in this remarkable collection . . . could stand as compressed stories about anxiety and the body.” —The New York Times Vulnerable, tender, acute, these are serious poems, brave poems, exploring with honesty the ambiguous moment between the rapture of youth and the grace of acceptance. A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still National Book Award finalist Ada Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. “Fine then, / I’ll take it,” she writes. “I’ll take it all.” “Gorgeous, thought-provoking . . . simple, striking images.” —Publishers Weekly (starred review) “Exquisite.” —The Washington Post “Pitch-perfect . . . full of poems to savor and share . . . She writes with remarkable directness about painful experiences normally packaged in euphemism and, in doing so, invites the readers to enter a world where abundant joy exists alongside and simultaneous to loss.” —Minneapolis Star-TribuneWinner of the National Book Critics Circle Award for Poetry

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  Gigi & Dar

  Josh Azouz

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  'Private Gigi. One Direction awaits your commands.'
  A roadblock. Two young women armed with machine guns and Nutella. Days away from finishing the army.
  Gigi has a secret. Dar dreamt she'd be shot today. And there's a strange vehicle heading their way… Well, that's okay. Nothing ever happens here. Right?
  A comic tragedy about what we bury in order to survive, Josh Azouz's play Gigi & Dar was first performed at the Arcola Theatre, London, in 2024, directed by Kathryn Hunter.

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  Collected Plays Two

  Alfian Sa'at

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  Alfian Sa’at’s The Asian Boys Trilogy is a fascinating, insightful tour through the lives and loves of the gay community in Singapore. In the campy and carnivalesque Dreamplay, history is turned upside-down as a goddess travels through time to ‘save gay men from themselves’. In Landmarks, geography takes centrestage, as eight short plays explore the spaces that have been claimed, colonised, and trespassed by those at the margins of the mainstream. In Happy Endings, the playwright’s adaptation of the novel Peculiar Chris evolves into a meditation on the relationship between life and literature. With clear-eyed compassion and eloquent outrage, this collection of plays charts the coming-of-age of a community finding its voice.

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  Kojak - Five Star Final

  Arthur Korb

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  A dramatic performance by the Power Performance Players of one of Kojak's cases from the fictional files of the New York Police Department.

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  On Hearing That Constantinople...

  Amelia Opie

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  Amelia Alderson, an only child, was born on the 12th November 1769 in Norwich, England. 
  After the death of her mother on New Year’s Eve 1784 she became her father's housekeeper and hostess. 
  The young Amelia was energetic, attractive, and an admirer of fashion.  She spent much of her youth writing poetry and plays and putting on local amateur theatricals.  At 18 she had published anonymously ‘The Dangers of Coquetry’. 
  Amelia married in the spring of 1798 to the artist John Opie at the Church of St Marylebone, in Westminster, and together they lived in Berners Street where Amelia was already living. 
  Her next novel in 1801 ‘Father and Daughter’, was very popular even though it dealt with such themes as illegitimacy, a socially difficult subject for its times.  From this point on published works were far more regular.  The following year her volume ‘Poems’ appeared and was again very popular.  Novels continued to flow and she never once abandoned her social activism and her call for better treatment of women and the dispossessed in her works.  She was also keenly involved in a love of society and its attendant frills. 
  Encouraged by her husband to write more she published Adeline Mowbray in 1804, an exploration of women's education, marriage, and the abolition of slavery.  
  Her husband died in 1807 and she paused from writing for a few years before resuming with further novels and poems.  Of particular interest was her short poem ‘The Black Man's Lament’ in 1826.  Her life now was in the main spent travelling and working for charities and against slavery.  She even helped create a Ladies Anti-Slavery Society in Norwich which organised a parliamentary petition of 187,000 names of which hers was the first name. 
  After a visit to Cromer, a seaside resort on the North Norfolk coast, she caught a chill and retired to her bedroom.  
  Amelia Opie died on the 2nd December 1853 in Norwich.  She was 84.

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  Dead Men Float

  Mark Ayling

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  Redemption is only ever partial. Ray makes mistakes in his life yet at the last he tries to make some sort of restitution. In this novel, there is fake mysticism, empty promises, infidelity, lost chances and examples of how in extremis people can surprise and surpass themselves. There are also contrasting examples of how returning to one's past can end up - Jan is destroyed by hers, whereas Ray finds renewed purpose and enduring loyalties in his.

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