Drama

The definitive history of Peter Jackson's Middle-earth saga, Anything You Can Imagine takes us on a cinematic journey across all six films, featuring brand-new interviews with Peter, his cast & crew. From the early days of daring to dream it could be done, through the highs and lows of making the films, to fan adoration and, finally, Oscar glory.

Lights
A nine-year-old boy in New Zealand's Pukerua Bay stays up late and is spellbound by a sixty-year-old vision of a giant ape on an island full of dinosaurs. This is true magic. And the boy knows that he wants to be a magician.

Camera
Fast-forward twenty years and the boy has begun to cast a spell over the film-going audience, conjuring gore-splattered romps with bravura skill that will lead to Academy recognition with an Oscar nomination for Heavenly Creatures. The boy from Pukerua Bay with monsters reflected in his eyes has arrived, and Hollywood comes calling. What would he like to do next? 'How about a fantasy film, something like The Lord of the Rings...?'

Action
The greatest work of fantasy in modern literature, and the biggest, with rights ownership so complex it will baffle a wizard. Vast. Complex. Unfilmable. One does not simply walk into Mordor - unless you are Peter Jackson.

Anything You Can Imagine tells the full, dramatic story of how Jackson and his trusty fellowship of Kiwi filmmakers dared take on a quest every bit as daunting as Frodo's, and transformed JRR Tolkien's epic tale of adventure into cinematic magic, and then did it again with The Hobbit. Enriched with brand-new interviews with Jackson, his fellow filmmakers and many of the films' stars, Ian Nathan's mesmerising narrative whisks us to Middle-earth, to gaze over the shoulder of the director as he creates the impossible, the unforgettable, and proves that film-making really is 'anything you can imagine'.

The acclaimed Pelican Shakespeare series edited by A. R. Braunmuller and Stephen Orgel

The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare's time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With definitive texts and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

"I feel that I have spent half my career with one or another Pelican Shakespeare in my back pocket. Convenience, however, is the least important aspect of the new Pelican Shakespeare series. Here is an elegant and clear text for either the study or the rehearsal room, notes where you need them and the distinguished scholarship of the general editors, Stephen Orgel and A. R. Braunmuller who understand that these are plays for performance as well as great texts for contemplation." (Patrick Stewart)

The distinguished Pelican Shakespeare series, which has sold more than four million copies, is now completely revised and repackaged.

Each volume features:
* Authoritative, reliable texts
* High quality introductions and notes
* New, more readable trade trim size
* An essay on the theatrical world of Shakespeare and essays on Shakespeare's life and the selection of texts

"I've been single for so long, I've started having sexual fantasies about my vibrator," riffs Karla for her captive, cancer-ward audience. The patients--her mother, who's recovering from surgery for ovarian cancer, and her roommate behind the curtain, aren't laughing--or even awake--but there's someone else in the room . . .In Halley Feiffer's " painfully irresistible" (The New York Times) new play, a foul-mouthed twenty-something comedian and a middle-aged man embroiled in a nasty divorce are brought together unexpectedly when their cancer-stricken mothers become roommates in the hospital. Together, this unlikely duo must negotiate some of life's biggest challenges . . . while making some of the world's most inappropriate jokes. Can these two very lost people learn to laugh through their pain and lean on each other when all they really want to do is run away? In A Funny Thing Happened on the Way to the Gynecologic Oncology Unit at Memorial Sloan Kettering Cancer Center of New York City, Halley Feiffer slays in a work that's dark and disturbing and yet totally hilarious. The acclaimed world premiere at MCC Theater featured Beth Behrs, Erik Lochtefeld, Lisa Emery, and Jacqueline Sydney, and was directed by Trip Cullman.

"Richly and often pertinently funny [with] a sure instinct for the carefully considered irrelevance . . . a great deal of incidental hilarity [and] inspired idiocy."--The New York Times

Happy Birthday Wanda June was Kurt Vonnegut's first play, which premiered in New York in 1970 and was then adapted into a film in 1971. It is a darkly humorous and searing examination of the excesses of capitalism, patriotism, toxic masculinity, and American culture in the post-Vietnam War era. Featuring behind-the-scenes photographs from the original stage production, this play captures Vonnegut's brilliantly distinct perspective unlike we have ever seen it before.

"A great artist."--The Cincinnati Enquirer

From The New Yorker's fiercely original, Pulitzer Prize-winning culture critic, a provocative collection of new and previously published essays arguing that we are what we watch.

"Emily Nussbaum is the perfect critic--smart, engaging, funny, generous, and insightful."--David Grann, author of Killers of the Flower Moon

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR - Chicago Tribune - Esquire - Library Journal - Kirkus Reviews

From her creation of the "Approval Matrix" in New York magazine in 2004 to her Pulitzer Prize-winning columns for The New Yorker, Emily Nussbaum has argued for a new way of looking at TV. In this collection, including two never-before-published essays, Nussbaum writes about her passion for television, beginning with Buffy the Vampire Slayer, the show that set her on a fresh intellectual path. She explores the rise of the female screw-up, how fans warp the shows they love, the messy power of sexual violence on TV, and the year that jokes helped elect a reality-television president. There are three big profiles of television showrunners--Kenya Barris, Jenji Kohan, and Ryan Murphy--as well as examinations of the legacies of Norman Lear and Joan Rivers. The book also includes a major new essay written during the year of #MeToo, wrestling with the question of what to do when the artist you love is a monster.

More than a collection of reviews, the book makes a case for toppling the status anxiety that has long haunted the "idiot box," even as it transformed. Through it all, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism, one that resists the false hierarchy that elevates one kind of culture (violent, dramatic, gritty) over another (joyful, funny, stylized). I Like to Watch traces her own struggle to punch through stifling notions of "prestige television," searching for a more expansive, more embracing vision of artistic ambition--one that acknowledges many types of beauty and complexity and opens to more varied voices. It's a book that celebrates television as television, even as each year warps the definition of just what that might mean.

FINALIST FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY

"This collection, including some powerful new work, proves once and for all that there's no better American critic of anything than Emily Nussbaum. But I Like to Watch turns out to be even greater than the sum of its brilliant parts--it's the most incisive, intimate, entertaining, authoritative guide to the shows of this golden television age."--Kurt Andersen, author of Fantasyland

"Reading Emily Nussbaum makes us smarter not just about what we watch, but about how we live, what we love, and who we are. I Like to Watch is a joy."--Rebecca Traister

From the Pulitzer Prize-winning author of Disgraced, a fast-paced play that exposes the financial deal making behind the mergers and acquisitions boom of the 1980s.

Set in 1985, Junk tells the story of Robert Merkin, resident genius of the upstart investment firm Sacker Lowell. Hailed as "America's Alchemist," his proclamation that "debt is an asset" has propelled him to a dizzying level of success. By orchestrating the takeover of a massive steel manufacturer, Merkin intends to do the "deal of the decade," the one that will rewrite all the rules. Working on his broadest canvas to date, Pulitzer Prize winner Ayad Akhtar chronicles the lives of men and women engaged in financial civil war: insatiable investors, threatened workers, killer lawyers, skeptical journalists, and ambitious federal prosecutors. Although it's set 40 years in the past, this is a play about the world we live in right now; a world in which money became the only thing of real value.

"From Fay's methodology, I learned to use my intuition and lived experiences in myriad new ways." --Winston Duke, actor, Black Panther, Avengers, Us, and Nine Days

Engaging Mind and Body to Develop the Complete Physical Nature of Characters

Actors are shape-shifters, requiring the tools to wade into unfamiliar waters and back out again. The Lucid Body offers a holistic, somatic approach to embodying character from the inside-out and, for the non-actor, offers a way to give hidden parts of the self their full expression. By identifying stagnant movement patterns, this process expands one's emotional and physical range and enables the creation of characters from all walks of life--however cruel, desolate, or jolly. Rooted in the exploration of the seven chakra energy centers, The Lucid Body reveals how each body holds the possibility of every human condition. Readers will learn how to:

Practice a non-judgmental approach to the journey of self-awareness

Break up stagnant and restrictive patterns of thought and movement

Allow an audible exhale to be the key to unlocking the breath

Develop a mindset to "hear" one's inner body

Analyze the human condition through the psycho-physical lens of the chakras

Experience the safety of coming back to a neutral body

Acquire a sense of clarity and calm in one's everyday life

A step-by-step program guides the actor through the phases of self-awareness that expand emotional and physical range not only on stage, but also in daily life. This new edition includes a more diversified range of playwrights, non-binary language, and new chapters on stage intimacy protocol and physical listening. Exercises that have been honed for the past ten years have been made more concise. New somatic and neuro-scientific data has been added, with additional wisdom and insights from colleagues and Simpson's team of Lucid Body teachers.

Shakespeare's "merry wives" are Mistress Ford and Mistress Page of the town of Windsor. The two play practical jokes on Mistress Ford's jealous husband and a visiting knight, Sir John Falstaff.

Merry wives, jealous husbands, and predatory knights were common in a kind of play called "citizen comedy" or "city comedy." In such plays, courtiers, gentlemen, or knights use social superiority to seduce citizens' wives.

The Windsor wives, though, do not follow that pattern. Instead, Falstaff's offer of himself as lover inspires their torment of him. Falstaff responds with the same linguistic facility that Shakespeare gives him in the history plays in which he appears, making him the "hero" of the play for many audiences.

The authoritative edition of The Merry Wives of Windsor from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes:

-Freshly edited text based on the best early printed version of the play
-Full explanatory notes conveniently placed on pages facing the text of the play
-Scene-by-scene plot summaries
-A key to the play's famous lines and phrases
-An introduction to reading Shakespeare's language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Library's vast holdings of rare books
-An annotated guide to further reading

Essay by Natasha Korda

The Folger Shakespeare Library in Washington, DC, is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.

In A Midsummer Night's Dream, Shakespeare stages the workings of love. Theseus and Hippolyta, about to marry, are figures from mythology. In the woods outside Theseus's Athens, two young men and two young women sort themselves out into couples--but not before they form first one love triangle, and then another.

Also in the woods, the king and queen of fairyland, Oberon and Titania, battle over custody of an orphan boy; Oberon uses magic to make Titania fall in love with a weaver named Bottom, whose head is temporarily transformed into that of a donkey by a hobgoblin or "puck," Robin Goodfellow. Finally, Bottom and his companions ineptly stage the tragedy of "Pyramus and Thisbe."

The authoritative edition of A Midsummer Night's Dream from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes:

-Freshly edited text based on the best early printed version of the play

-Full explanatory notes conveniently placed on pages facing the text of the play

-Scene-by-scene plot summaries

-A key to the play's famous lines and phrases

-An introduction to reading Shakespeare's language

-An essay by a leading Shakespeare scholar providing a modern perspective on the play

-Fresh images from the Folger Shakespeare Library's vast holdings of rare books

-An annotated guide to further reading

Essay by Catherine Belsey

The Folger Shakespeare Library in Washington, DC, is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.

"Pevear and Volokhonsky are at once scrupulous translators and vivid stylists of English." - James Wood, New Yorker

A week before her thirtieth birthday, Natlya's life as a dutiful wife and mother is upended as the arrival of her son's charming new tutor unleashes a whirlwind of suppressed emotions in her peaceful household. "I set myself quite a complicated psychological task in this comedy," Turgenev wrote of the play, which would go on to become one of the permanent works in the Russian dramatic repertory. This fresh translation of A Month in the Country is a collaboration between renowned playwright Richard Nelson and the foremost contemporary translators of classic Russian literature Richard Pevear and Larissa Volokhonsky. It marks the second in TCG's Classic Russian Drama Series, which plans over the next ten years to publish new translations of major works of Russian drama.

Richard Nelson's many plays include The Apple Family: Scenes from Life in the Country (That Hopey Changey Thing, Sweet and Sad, Sorry and Regular Singing); Nikolai and the Others; Goodnight Children Everywhere (Olivier Award for Best Play); Franny's Way; Some Americans Abroad; Frank's Home; Two Shakespearean Actors and James Joyce's The Dead (with Shaun Davey; Tony Award for Best Book of a Musical).

Richard Pevear and Larissa Volokhonsky have translated the works of Leo Tolstoy, Fyodor Dostoevsky, Nikolai Gogol, Anton Chekhov, Boris Pasternak and Mikhail Bulgakov. Their translations of The Brothers Karamozov and Anna Karenina won the PEN Translation Prize in 1991 and 2002, respectively. Pevear, a native of Boston, and Volokhonsky, of St. Petersburg, are married and live in France.

Other titles in this series include:
The Inspector by Nikolai Gogol
The Cherry Orchard by Anton Chekhov

Among the most celebrated plays of ancient Athens, Philoketes is one of seven surviving dramas by the great Greek playwright, Sophocles, now available from Harper Perennial in a vivid and dynamic new translation by award-winning poet James Scully. A powerful tale born out of the blood and chaos of the Trojan War, Philoketes tells the story of a wounded soldier exiled by Odysseus, and the devastating consequences of the abandoned warrior's dangerously conflicted emotions when his former commander realizes Troy will not fall without Philoktetes and attempts to recruit him once more. This is Sophocles, vibrant and alive, for a new generation.