Fifteen-year-old Abdul, having lost everyone he loves, journeys from Baghdad to a migrant community in Calais where he sneaks aboard a boat bound for England, not knowing it carries a cargo of heroin, and when the vessel is involved in a skirmish and the pilot killed, it is up to Abdul and three other young stowaways to complete the journey.

"No Safe Spaces opens up a conversation beyond narrow polemics . . . Although cross-racial casting has been the topic of heated discussion, little sustained scholarship addresses both the historical precedents and theoretical dimensions. Pao illustrates the tensions and contradictions inherent not only in stage representations, but also in the performance of race in everyday life. A wonderful book whose potential readership goes well beyond theater and performance scholars." ---Josephine Lee, University of Minnesota "Non-traditional casting, increasingly practiced in American theater, is both deeply connected to our country's racial self-image(s) and woefully under-theorized. Pao takes on the practice in its entirety to disentangle the various strands of this vitally important issue." ---Karen Shimakawa, New York University No Safe Spaces looks at one of the most radical and enduring changes introduced during the Civil Rights era---multiracial and cross-racial casting practices in American theater. The move to cast Latino/a, African American, and Asian American actors in classic stage works by and about white Europeans and Americans is viewed as both social and political gesture and artistic innovation. Nontraditionally cast productions are shown to have participated in the national dialogue about race relations and ethnic identity and served as a source of renewed creativity for the staging of the canonical repertory. Multiracial casting is explored first through its history, then through its artistic, political, and pragmatic dimensions. Next, the book focuses on case studies from the dominant genres of contemporary American theater: classical tragedy and comedy, modern domestic drama, antirealist drama, and the Broadway musical, using a broad array of archival source materials to enhance and illuminate its arguments. Angela C. Pao is Associate Professor of Comparative Literature at Indiana University. A volume in the series Theater: Theory/Text/Performance

"An excellent and readable account of the toxic waste crisis in Woburn, Massachusetts, and the courageous efforts by local citizens to protect their community. The Woburn story is an inspiring lesson for citizens across the country struggling to protect the environment from polluters and unresponsive government officials."—Senator Edward Kennedy

They thought they'd found their safe haven, but trouble found them instead After their treacherous trip from Utah to California, Matt, Jessica and their friends can finally take a breath. The Miller’s farm in the San Joaquin Valley seems like the perfect place to create a new home. That is, until they find out what the Emperors are up to. Not wanting to start a war with the ruthless gang, they decide to stay out of it, but when they come face to face with Emperor Randy, they may not have a choice.

He Abused Her Body... Everyone who knew them thought stunning Farah Fratta and her husband Robert, a firefighter and public safety officer, had it all--a solid, nine-year marriage, three beautiful children, and a comfortable house in a middle class Houston suburb. But behind closed doors, Robert's deviant sexual appetites trapped Farah in a world of sick perversity...until she filed for divorce in 1992. Her Terrorized Her In Her Own Home... During a bitter custody suit, Farah bravely recounted--in graphic detail--her husband's bizarre sexual demands, which the presiding judge called the most depraved behavior he'd ever heard. Then Fratt'a behavior turned violent. Hoping to intimate his wife into dropping the proceedings against him, he hired an ex-con to brutally rape and torture her with a stun gun. Two years after the case began, the court was about to rule in Farah's favor...and seal her fate. Then He Took Her Life... On the night of November 9, 1994, as an unsuspecting Farah stepped out of her car, a man wearing a black ski mask emerged from the backyard and pumped two lethal bullets into her head. Charged with Farah's murder, Fratta tried to use a visit with his children as an alibi. Instead, he and two others were convicted of the bloody plot and sentenced to die by lethal injection.

From the Publisher: Christina Crawford's devastating memoir Mommie Dearest (over 5,000,000 sold), first as book and later as Hollywood film, made the American public aware of violence in the family. In No Safe Place, drawing further on her personal story, but adding sociological research and case histories, the author shows how family violence is responsible for addictive behavior, depression, sleep disorders, chronic illness, suicide, delinquency, homelessness, and apparently "mindless" violent crime. A call to action, this impassioned book offers the hope that in facing the truth about our families we can save our society and ourselves.

How the essential democratic values of diversity and free expression can coexist on campus. Safe spaces, trigger warnings, microaggressions, the disinvitation of speakers, demands to rename campus landmarks—debate over these issues began in lecture halls and on college quads but ended up on op-ed pages in the New York Times and the Wall Street Journal, on cable news, and on social media. Some of these critiques had merit, but others took a series of cheap shots at “crybullies” who needed to be coddled and protected from the real world. Few questioned the assumption that colleges must choose between free expression and diversity. In Safe Spaces, Brave Spaces, John Palfrey argues that the essential democratic values of diversity and free expression can, and should, coexist on campus. Palfrey, currently Head of School at Phillips Academy, Andover, and formerly Professor and Vice Dean at Harvard Law School, writes that free expression and diversity are more compatible than opposed. Free expression can serve everyone—even if it has at times been dominated by white, male, Christian, heterosexual, able-bodied citizens. Diversity is about self-expression, learning from one another, and working together across differences; it can encompass academic freedom without condoning hate speech. Palfrey proposes an innovative way to support both diversity and free expression on campus: creating safe spaces and brave spaces. In safe spaces, students can explore ideas and express themselves with without feeling marginalized. In brave spaces—classrooms, lecture halls, public forums—the search for knowledge is paramount, even if some discussions may make certain students uncomfortable. The strength of our democracy, says Palfrey, depends on a commitment to upholding both diversity and free expression, especially when it is hardest to do so.