"Albee's perversely funny sendup of a standard mid-life crisis drama ... dares to suggest that even the most flawed and confused human beings deserve compassionate understanding, and the failure to proffer it is a species of bestiality far more abhorrent than the sexual kind." Variety On his 50th birthday, Martin, a world-famous architect prepares for a recorded interview by an old friend in the TV business; but in the course of the conversation a secret emerges that threatens to turn celebration to tragedy. Edward Albee's black comedy offers a fascinating look at the limits liberal society can be pushed to, and asks the audience to question their beliefs, to examine their own bigoted views and reconsider their judgement of matters that may or may not be considered socially taboo. Winner of the 2002 Tony Award for Best Play, The Goat, or Who is Sylvia? is a hugely enjoyable parable that plumbs the deepest questions of social constraints on the individual expression of love. This Modern Classics edition features a new introduction by Toby Zinman.

"Twelve times a week," answered Uta Hagen, when asked how often she'd like to play Martha in "Who's Afraid of Virginia Woolf?" Like her, neither audiences nor critics could get enough of Edward Albee's masterful play. A dark comedy, it portrays husband and wife George and Martha in a searing night of dangerous fun and games. By the evening's end, a stunning, almost unbearable revelation provides a climax that has shocked audiences for years. With the play's razor-sharp dialogue and the stripping away of social pretense, "Newsweek" rightly foresaw "Who's Afraid of Virginia Woolf?" as "a brilliantly original work of art-an excoriating theatrical experience, surging with shocks of recognition and dramatic fire [that] will be igniting Broadway for some time to come."

Middle-aged history professor George, and his wife Martha, are joined by another college couple. The result is an all-night drinking session that erupts into a nightmare of revelations

"I've been to the zoo."
These opening words usher the audience into one of the most iconic plays in American theater history: "The Zoo Story." More than fifty years later, master playwright Edward Albee ("Who's Afraid of Virginia Woolf?" and "The Goat, or Who is Sylvia?") wrote a prequel to this classic. "Home Story" contains the events in Peter's life immediately preceding his encounter with Jerry on the park bench and is every bit as powerful as the original. We meet Ann, Peter's wife, and see the conversation that compelled Peter to go for that fateful walk in the park. For the first time collected in one volume, "At Home at the Zoo" is a must for any theater lover.

Estrenda en Broadway en 1962 cosecho un gran exito de critica y publico. Albee disecciona en ella dos matrimonios para contar las mentiras en las que se basan. La conclusion es que el engano no es solo un problema individual, sino un mal nacional.

A collection of some of Edward Albee's earliest and most acclaimed works.

Brings readers up to date with one of the most varied and brilliant periods in the career of a true American master playwright, including his most influential and iconoclastic plays to date.

Edward Albee

Full Length, Drama

Characters: 2 male, 4 female

Interior Set

This Pulitzer Prize winner enjoyed a stunning Broadway revival in 1996 with George Gizzard, Rosemary Harris and Elaine Stritch. Wealthy middle-aged couple, Agnes and Tobias have their complacency shattered when Harry and Edna, longtime friends appear at their doorstep. Claiming an encroaching, nameless "fear" has forced them from their own home, these neighbors bring a firestorm of doubt, recrimination and ultimately solace, upsetting the "delicate balance" of Agnes and Tobias' household.

Winner of the 1996 Drama Desk and Award, Best Revival.

"Powerful...A beautiful play filled with humor and compassion, and touched with poetry...[with] the stature and eloquence of a classic."-New York Daily News

"A brilliant play."-New York Post

"An evening of theatrical fireworks."-The New York Times

A classic work that has charmed generations of readers, this collection assembles Carson McCullers's best stories, including her beloved novella "The Ballad of the Sad Cafe." A haunting tale of a human triangle that culminates in an astonishing brawl, the novella introduces readers to Miss Amelia, a formidable southern woman whose cafe serves as the town's gathering place. Among other fine works, the collection also includes "Wunderkind," McCullers's first published story written when she was only seventeen about a musical prodigy who suddenly realizes she will not go on to become a great pianist. Newly reset and available for the first time in a handsome trade paperback edition, The Ballad of the Sad Cafe is a brilliant study of love and longing from one of the South's finest writers.

America's most important living playwright, Edward Albee, has been rocking our country's moral, political and artistic complacency for more than 50 years. Beginning with his debut play, The Zoo Story (1958), and on to his barrier breaking works of the 1960s, most notably The American Dream (1960), Who's Afraid of Virginia Woolf? (1963), and the Pulitzer Prize-winning A Delicate Balance (1966), Albee's provocative, unsparing indictment of the American way of life earned him early distinction as the dramatist of his generation. His acclaim was enhanced even further in the decades that followed with prize-winning dramas such as Seascape and Three Tall Women, as well as recent works like The Play About the Baby and Who is Sylvia? Albee has brought the same critical force to his non-theatrical prose. Stretching My Mind collects for the first time ever the author's writings on theater, literature, and the political and cultural battlegrounds that have defined his career. Many of the selections were drawn from Albee's private papers, and almost all previously published material--dating from 1960 to the present--has never been reprinted. Topics include Samuel Beckett, Eugene Ionesco, Sam Shepherd, as well as autobiographical writings about Albee's life, work, and worldview.

George, a disillusioned academic, and Martha, his caustic wife, have just come home from a faculty party. When a handsome young professor and his mousy wife stop by for a nightcap, an innocent night of fun and games quickly turns dark and dangerous. Long-buried resentment and rage are unleashed as George and Martha turn their rapier-sharp wits against each other, using their guests as pawns in their verbal sparring. By night's end, the secrets of both couples are uncovered and the lies they cling to are exposed. Considered by many to be Albee's masterpiece, Who's Afraid of Virginia Woolf? is a "brilliantly original work of art -- an excoriating theatrical experience, surging with shocks of recognition and dramatic fire" (Newsweek).

Winner of the 1994 Pulitzer Prize for best play, as well as a number of other prestigious awards, Three Tall Woman has been called Albee's finest achievement. In his triumphant return to the New York and London stages, Albee demonstrates insight and vision with a moving look at mortality. "Stunning . . . nuanced and breathtaking".--Time.

Characters: 1m, 1f / Dramatic Comedy Unapologetically flamboyant, New York sculptor Louise Nevelson's life was one marked by intrepid artistic triumphs as well as deep inner turmoil. In Edward Albee's Occupant, both her public accomplishments and private emotional conflicts are thoroughly examined by an unnamed interviewer who questions the posthumous Nevelson with an unabashed scrutiny. From her unique vantage point beyond the grave, Nevelson answers his queries with a clarity born of the distance provided by death. The result is a touching, humorous, and honest tribute to a woman who was a pioneer for free-thinking females everywhere, but also stood strongly on her own as one of the 20th century's greatest artistic minds. Edward Albee's Occupant is a testament of will, internal strength, and the cryptic force that continues to drive great artists. "The play also touches on themes that echo throughout Mr. Albee's work: the unreliability of memory, the chimerical nature of language and particularly the alchemical brew of "truth and illusion" (to borrow a much-used pair of words from "Who's Afraid of Virginia Woolf?") by which people define themselves."-The New York Times

A thrilling archival discovery and literary event-the publication, after ninety years, of a sharply autobiographical one-act play by the father of modern American theater Shortly after the debut of Exorcism in 1920, Eugene O'Neill suddenly canceled production and ordered all extant copies of the drama destroyed. For over ninety years, it was believed that the play was irrevocably lost, until it was recently discovered that O'Neill's second wife had in fact retained a copy, which she later gave to the prolific screenwriter and producer Philip Yordan. In early 2011, Yordan's widow discovered the typescript of Exorcism-complete with edits in O'Neill's own hand-in her late husband's vast trove of papers. The discovery and publication of Exorcism, a relatively early play in the O'Neill corpus, furthers our knowledge of O'Neill's dramatic development and reveals a pivotal point in the career of this great American playwright. Revolving around a suicide attempt, Exorcism draws on a dark incident in O'Neill's own life. This defining event led to his first serious efforts to write. Exorcism displays early examples of O'Neill's unparalleled skills of capturing deeply personal human drama, and it explores major themes-mourning and melancholia, addiction and sobriety, tensions between fathers and sons-that would permeate his later work. According to Yale University's Beinecke Rare Book and Manuscript Library curator Louise Bernard, who acquired the play from a New York bookseller, "Exorcism might be read as a preparatory sketch that resonates powerfully with Long Day's Journey into Night, one that brings the O'Neill family drama full circle in ways at once intimate and grandly conceived." Exhibition Schedule: Serialized in The New Yorker

Neil Wechsler's "Grenadine" has been chosen as the second winner of the Yale Drama Series. The play was selected by Pulitzer Prize-winning playwright and contest judge Edward Albee. "Grenadine "is the fantastical story of a man's quest for love in the company of three devoted friends. Albee writes, "I found it highly original. . . . The questions the play asks and the answers it proposes are provocative; the play stretched my mind." About the Yale Drama SeriesYale University Press, the Yale Repertory Theatre, and the David Charles Horn Foundation are proud co-sponsors of this major competition to support emerging playwrights. Each year's winner receives the David C. Horn Prize of $10,000, publication of the manuscript by Yale University Press, and a staged reading at Yale Repertory Theatre. For more information and complete rules for the Yale Drama Series, visit yalebooks.com.

New York-based British artist John Beech and New York playwright Edward Albee have known each other since 1991, when Albee acquired the first of several of Beech's works for his collection. In the summer of 2006, Beech set out for Montauk to meet with Albee about collaborating on a book. As Albee went through the images, Beech was struck by the poignant and poetic remarks Albee spoke in response, sometimes with just a single word, at other times with a short insightful phrase. These primary responses were the genesis of the facsimile-reproduced handwritten texts that appear in response to each of the 40 images reproduced in this stunning limited edition of 750 copies.