Featuring five plays by Dutch women writers (Hella Haasse, Matin Van Veldhuizenm, Suzanne Van Lohuizen, Inez Van Dullemen and Judith Herzberg) this play collection showcases the best plays by women writing in the Netherlands at the time of publication. The Plays A Thread in the Dark by Hella Haasse: This is a profound retelling of the myth of Theseus and the Minotaur, from the viewpoint of Ariadne. Winner of the Visser Neerlandia prize. "[W]e cannot rephrase it for you. If we Could, why would we trouble to show you the myth?" Eat by Matin Van Veldhuizen: A darkly comic exploration of the lives of three sisters who come together to eat, drink and celebrate the anniversary of their mother's death. Dossier: Ronald Akkerman by Suzanne Van Lohuizen: A two-hander, detailing moments between a patient suffering from AIDS and his nurse. "...the moving story of a relationship between a young man in the final stages of AIDS and his nurse, Dossier: Ronald Akkerman ... tackles the epidemic full-on." Gay Times Write Me in the Sand by Inez Van Dullemen: A poetic portrayal of a family where layer upon layer is removed to reveal the painful secrets within. The Caracal by Judith Herzberg: A comic one-woman show about a teacher whose complicated love life is revealed through fragmentary telephone conversations.

"In this touching, disturbing and meticulously researched play, each vulgar and bullying witticism reinforces the indoctrinating brutality with which young, susceptible minds were beaten into submission. Each word is like a razor wire pulled across the soul." --Leon van Nierop, "Artslink" "Somewhere on the Border "was written by Anthony Akerman while in exile more than two decades ago. The play was intercepted in the post and banned as a publication by the apartheid censors because the language was considered "offensive" and the portrayal of the South African Armed Forces "prejudicial to the safety of the state." This publication of a one-act version of the play brings the South African Border War back into public discourse and pierces through the armour of silence, secrecy, and shame that still surrounds it. The script is complemented by an author's preface and an afterword by historian Gary Baines, as well as photographs of its 2011 production.