Suddenly Last Summer

THE STORY: Kerr, in the NY Herald-Tribune, describes: This, says Mr. Williams through the most sympathetic voice among his characters, 'is a true story about the time and the world we live in.' He has made it seem true--or at least curiously and su

Two of Tennessee Williams's most revered dramas in a single paperback edition for the first time. Orpheus Descending is a love story, a plea for spiritual and artistic freedom, as well as a portrait of racism and intolerance. When charismatic drifter Valentine Xavier arrives in a Mississippi Delta town with his guitar and snakeskin jacket, he becomes a trigger for hatred and a magnet for three outcast souls: storekeeper Lady Torrance, “lewd vagrant” Carol Cutrere, and religious visionary Vee Talbot. Suddenly Last Summer, described by its author as a “short morality play,” has become one of his most notorious works due in no small part to the film version starring Elizabeth Taylor, Katharine Hepburn, and Montgomery Clift that shocked audiences in 1959. A menacing tale of madness, jealousy, and denial,the horrors in Suddenly Last Summer build to a heart-stopping conclusion. With perceptive new introductions by playwright Martin Sherman — he reframes Orpheus Descending in a political context and explores the psychology and sensationalism surrounding Suddenly Last Summer — this volume also offers Williams’s related essay, “The Past, the Present, and the Perhaps,” and a chronology of the playwright’s life and works.

A French chef in smalltown Vermont finds a summer fling that just might last in the USA Today–bestselling author’s “poignant and heartfelt” romance (Publishers Weekly). Having fallen in love with her new home in Snow Crystal, Vermont, fiery French chef Elise Philippe is determined to make this summer unforgettable. But with the grand opening of her chic café falling apart, it looks like it might for all the wrong reasons. Until Sean O’Neill comes back to town. Last summer, Elise and Sean shared one hazy whirlwind night together—and Elise is looking forward to repeating their last encounter. As long as she can stick to her one-night-only rule and listen to her head rather than her heart. After all, Sean hates his hometown and is planning to leave as soon as he can. Unless something, or someone, convinces him to stay . . .

This remarkably illuminating portrait of Tennessee Williams lifts the veil on the heart and soul of his artistic inspiration: the unspoken collaboration between playwright and actor. At a low moment in Williams’s life, he summoned to New Orleans a young twenty-year-old writer, James Grissom, who had written him a letter asking for advice. After a long, intense conversation, Williams sent Grissom on a journey on his behalf to find out if he or his work had mattered to those who had so deeply mattered to him. Among the more than seventy women and men with whom Grissom talked were giants of American theater and film: Lillian Gish, (“the escort who brought me to Blanche”), Jessica Tandy (the original Blanche DuBois on Broadway), Eva Le Gallienne (“She was a stone against which I could rub my talent and feel that it became sharper”), Maureen Stapleton, Julie Harris, Bette Davis, Katherine Hepburn, Elia Kazan, Marlon Brando, John Gielgud, and many more. Follies of God provides dazzling insight into how Williams conjured the dramatic characters and plays that so transformed American theater.

From the New York Times-bestselling author of The Sisterhood of the Traveling Pants Ann Brashares comes her first adult novel In the town of Waterby on Fire Island, the rhythms and rituals of summer are sacrosanct: the ceremonial arrivals and departures by ferry; yacht club dinners with terrible food and breathtaking views; the virtual decree against shoes; and the generational parade of sandy, sun-bleached kids, running, swimming, squealing, and coming of age on the beach. Set against this vivid backdrop, The Last Summer (of You and Me) is the enchanting, heartrending story of a beach-community friendship triangle and summertime romance among three young adults for whom summer and this place have meant everything. Sisters Riley and Alice, now in their twenties, have been returning to their parents’ modest beach house every summer for their entire lives. Petite, tenacious Riley is a tomboy and a lifeguard, always ready for a midnight swim, a gale-force sail, or a barefoot sprint down the beach. Beautiful Alice is lithe, gentle, a reader and a thinker, and worshipful of her older sister. And every summer growing up, in the big house that overshadowed their humble one, there was Paul, a friend as important to both girls as the place itself, who has now finally returned to the island after three years away. But his return marks a season of tremendous change, and when a simmering attraction, a serious illness, and a deep secret all collide, the three friends are launched into an unfamiliar adult world, a world from which their summer haven can no longer protect them. Ann Brashares has won millions of fans with her blockbuster series, The Sisterhood of the Traveling Pants, in which she so powerfully captured the emotional complexities of female friendship and young love. With The Last Summer (of You and Me), she moves on to introduce a new set of characters and adult relationships just as true, endearing, and unforgettable. With warmth, humor, and wisdom, Brashares makes us feel the excruciating joys and pangs of love—both platonic and romantic. She reminds us of the strength and sting of friendship, the great ache of loss, and the complicated weight of family loyalty. Thoughtful, lyrical, and tremendously moving, The Last Summer (of You and Me is a deeply felt celebration of summer and nostalgia for youth.

Violet-eyed siren Elizabeth Taylor and classically handsome Montgomery Clift were the most gorgeous screen couple of their time. Over two decades of friendship they made, separately and together, some of the era’s defining movies—including Cat on a Hot Tin Roof, The Misfits, Suddenly, Last Summer, and Cleopatra. Yet the relationship between these two figures—one a dazzling, larger-than-life star, the other hugely talented yet fatally troubled—has never truly been explored until now. “Monty, Elizabeth likes me, but she loves you.” —Richard Burton When Elizabeth Taylor was cast opposite Montgomery Clift in A Place in the Sun, he was already a movie idol, with a natural sensitivity that set him apart. At seventeen, Elizabeth was known for her ravishing beauty rather than her talent. Directors treated her like a glamorous prop. But Monty took her seriously, inspiring and encouraging her. In her words, “That’s when I began to act.” To Monty, she was “Bessie Mae,” a name he coined for her earthy, private side. The press clamored for a wedding, convinced this was more than friendship. The truth was even more complex. Monty was drawn to women but sexually attracted to men—a fact that, if made public, would destroy his career. But he found acceptance and kinship with Elizabeth. Her devotion was never clearer than after his devastating car crash near her Hollywood home, when she crawled into the wreckage and saved him from choking. Monty’s accident shattered his face and left him in constant pain. As he sank into alcoholism and addiction, Elizabeth used her power to keep him working. In turn, through scandals and multiple marriages, he was her constant. Their relationship endured until his death in 1966, right before he was to star with her in Reflections in a Golden Eye. His influence continued in her outspoken support for the gay community, especially during the AIDS crisis. Far more than the story of two icons, this is a unique and extraordinary love story that shines new light on both stars, revealing their triumphs, demons—and the loyalty that united them to the end. “Casillo weaves an engrossing story about the intertwined lives of his subjects — the parallel worlds of privilege that they came from, the personal misfortunes that each suffered and the seemingly inextricable path that led to that fateful night. The author approaches them both with sympathy and comes away with a melodrama as good as any that they ever starred in.” —The New York Times “In a riveting new book that brings Hollywood's golden age to life with colorful, well-researched details and interviews with stars who knew Taylor and Clift, Casillo explores the intense bond the two shared.” —People Magazine

The first in a contemporary romance suspense series from New York Times and USA TODAY bestselling author Barbara Freethy, set in the coastal California town of Angel’s Bay. In Angel’s Bay there is a local legend: spirits from an 1800s shipwreck protect the townspeople, bringing about a belief in miracles and an ability of the community to heal wounds and save souls. So when Jenna Davis’s sister left instructions for keeping her daughter, Lexie, safe from her abusive father, Jenna obeyed her late sister’s wishes and took Lexie to Angel’s Bay. For three months, the two live quietly. But when a young woman jumps over the pier into the ocean, Jenna dives in, saving the woman’s life. Now a hero in the eyes of the locals, Jenna tries to lie low, but reporter Reid Tanner is determined to figure out just who she is and what she’s hiding from—without realizing the possible cost.

The playwright dramatizes his experiences in Cape Cod during the pivotal summer of 1940, when he met his first great love and openly acknowledged his homosexuality.

This late play by Tennessee Williams explores the troubled relationship between F. Scott and Zelda Fitzgerald.

How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)