In a mental health unit inside a prison, a group of women discover the music of punk rock band The Slits and form their own group. An outlet for their frustration, they find remedy in revolution. But in a system that suffocates, can rebellion ever be allowed? Written by Morgan Lloyd Malcolm (Emilia), Typical Girls is a funny, fierce and furious part-gig, part-play, co-commissioned by Clean Break theatre company.

‘A spicy work of biographical conjecture ... It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard.’ EVENING STANDARD ‘The great virtue of Lloyd Malcolm’s speculative history lies in its passion and anger: it ends with a blazing address to the audience that is virtually a call to arms. It is throughout, however, a highly theatrical piece ... In rescuing Emilia from the shades, [the play] gives her dramatic life and polemical potency.’ GUARDIAN The little we know of Emilia Bassano Lanier (1569 - 1645) is that she may have been the Dark Lady of Shakespeare's Sonnets, mistress of Lord Chamberlain, one of the first English female poets to be published, a mother, teacher who founded a school for women, and radical feminist with North African ancestry. Living at a time when women had such limited opportunities, Emilia Lanier is therefore a fascinating subject for this speculative history. In telling her story, Morgan Lloyd Malcolm represents the stories of women everywhere whose narratives have been written out of history. Originally commissioned for Shakespeare's Globe with an all-female cast, Emilia is published here as a Methuen Drama Student Edition with commentary and notes by Elizabeth Schafer, Professor of Drama at Royal Holloway, University of London, UK.

Motherhood. No one can prepare you for it. No matter how much you tell yourself you can do it - can you? Where's the rush of love? When will sleep again? What if the thing you fear most is also the thing you crave? All you wanted was one night of unbroken sleep, what have you done? Mum is a feverish journey through every parent's worst nightmare. A raw and real exploration of early motherhood from the award-winning writer of Emilia, Morgan Lloyd Malcolm. This edition was published to coincide with the world premiere at Theatre Royal, Plymouth and Soho Theatre, London.

Winner of the Noel Coward Award for Best Entertainment or Comedy at the 2020 Olivier Awards In 1611 Emilia Bassano wrote a volume of radical, feminist and subversive poetry. It was one of the first published collections of poetry written by a woman in England. The little we know of Emilia Bassano is restricted to the possibility that she may have been the 'Dark Lady' of Shakespeare's Sonnets - and the rest of HerStory has been erased by History. Morgan has taken what we know of Bassano, and her poetry, to create this lively, witty play.

I'm doing this for her because this was my sister's dream. This isn't my natural habitat. I wouldn't normally choose this. But she would have. Two sisters. One dream. The hardest open-water swim in the world. This triumphant play from Olivier Award-winning writer Morgan Lloyd Malcolm moves forwards and backwards in time across the 21 miles between Dover and Calais as a young swimmer harnesses her mind and body to make the crossing. Tackling what it means to grieve, both physically and mentally, When The Long Trick's Over encapsulates the fact that love persists whatever the distance and however perilous the journey is to the other side. And that, sometimes, it means swimming against the tide and against the things that hold you back: the old memories and oil tankers, jelly fish and Jelly Babies. This edition was published to coincide with the world premiere production by HighTide and the New Wolsey Theatre, February 2022.

A twisting two-hander, a psychological thriller from the acclaimed author of Belongings. Heather and Carla haven't seen each other since school. Their lives have taken very different paths - Carla lives a hand-to-mouth existence while Heather has a high-flying career, husband and a beautiful home. And yet, here they are in a cafe having tea and making awkward conversation. That is until Heather presents Carla with a bag containing a significant amount of cash and an unexpected proposition... Morgan Lloyd Malcolm's electric new thriller asks how far beyond the playground we carry our childhood experiences and to what lengths some people are willing to go to in order to come to terms with them.

The Making of the Modern Law: Legal Treatises, 1800-1926 includes over 20,000 analytical, theoretical and practical works on American and British Law. It includes the writings of major legal theorists, including Sir Edward Coke, Sir William Blackstone, James Fitzjames Stephen, Frederic William Maitland, John Marshall, Joseph Story, Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal Treatises includes casebooks, local practice manuals, form books, works for lay readers, pamphlets, letters, speeches and other works of the most influential writers of their time. It is of great value to researchers of domestic and international law, government and politics, legal history, business and economics, criminology and much more.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++Harvard Law School Libraryocm31402492Includes index.London: "Law Times" Office, 1880. xxxvii, 834 p.: forms; 21 cm.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

The Black people of Marks, Mississippi, and other rural southern towns were the backbone of the civil rights movement, yet their stories have too rarely been celebrated and are, for the most part, forgotten. Part memoir, part oral history, and part historical study, A Day I Ain't Never Seen Before tells the story of the struggle for equality and dignity through the words of these largely unknown men and women and the civil rights workers who joined them. Deeply rooted in documentary and archival sources, this book also offers extensive suggestions for further readings on both Marks and the civil rights movement. Set carefully within its broader historical context, the narrative begins with the founding of the town and the oppressive conditions under which Black people lived and traces their persistent efforts to win the rights and justice they deserved. In their own words, Marks residents describe their lives before, during, and after the activist years of the civil rights movement, bolstered by the voices of those like Joe Bateman who arrived in the mid-1960s to help. Voter registration projects, white violence, sit-ins, arrests, school desegregation cases, community-organizing meetings, protest marches, Freedom Schools, door-to-door organizing-all of these played out in Marks. The broader civil rights movement intersects many of these local efforts, from Freedom Summer to the War on Poverty, from the death of a Marks man on the March against Fear (Martin Luther King Jr. preached at his funeral) to the Poor People's Movement, whose Mule Train began in Marks. At each point Bateman and local activists detail how they understood what they were doing and how each protest action played out. The final chapters examine Marks in the aftermath of the movement, with residents reflecting on the changes (or lack thereof ) they have seen. Here are triumphs and beatings, courage and infighting, surveillance and-sometimes- lasting progress, in the words of those who lived it.

The Black people of Marks, Mississippi, and other rural southern towns were the backbone of the civil rights movement, yet their stories have too rarely been celebrated and are, for the most part, forgotten. Part memoir, part oral history, and part historical study, A Day I Ain't Never Seen Before tells the story of the struggle for equality and dignity through the words of these largely unknown men and women and the civil rights workers who joined them. Deeply rooted in documentary and archival sources, this book also offers extensive suggestions for further readings on both Marks and the civil rights movement. Set carefully within its broader historical context, the narrative begins with the founding of the town and the oppressive conditions under which Black people lived and traces their persistent efforts to win the rights and justice they deserved. In their own words, Marks residents describe their lives before, during, and after the activist years of the civil rights movement, bolstered by the voices of those like Joe Bateman who arrived in the mid-1960s to help. Voter registration projects, white violence, sit-ins, arrests, school desegregation cases, community-organizing meetings, protest marches, Freedom Schools, door-to-door organizing-all of these played out in Marks. The broader civil rights movement intersects many of these local efforts, from Freedom Summer to the War on Poverty, from the death of a Marks man on the March against Fear (Martin Luther King Jr. preached at his funeral) to the Poor People's Movement, whose Mule Train began in Marks. At each point Bateman and local activists detail how they understood what they were doing and how each protest action played out. The final chapters examine Marks in the aftermath of the movement, with residents reflecting on the changes (or lack thereof ) they have seen. Here are triumphs and beatings, courage and infighting, surveillance and-sometimes- lasting progress, in the words of those who lived it.

'Just because you appear to have secrets don't mean your secrets are all that interestin'.' A young female soldier returns from Afghanistan to a home she no longer recognises or connects with. She has proved herself in combat but her hardest battle is yet to come, as she navigates family politics, old relationships, and the memory of betrayal. From the deserts of a modern war to the battleground of a family kitchen, Morgan Lloyd Malcolm's explosive new play delves into one woman's quest for identity and a place she can call home. Nominated for Charles Wintour Most Promising Playwright Award (Evening Standard Awards)