Fates And Traitors

The New York Times bestselling author of Mrs. Lincoln’s Dressmaker returns with a riveting work of historical fiction following the notorious John Wilkes Booth and the four women who kept his perilous confidence. John Wilkes Booth, the mercurial son of an acclaimed British stage actor and a Covent Garden flower girl, committed one of the most notorious acts in American history—the assassination of President Abraham Lincoln. The subject of more than a century of scholarship, speculation, and even obsession, Booth is often portrayed as a shadowy figure, a violent loner whose single murderous act made him the most hated man in America. Lost to history until now is the story of the four women whom he loved and who loved him in return: Mary Ann, the steadfast matriarch of the Booth family; Asia, his loyal sister and confidante; Lucy Lambert Hale, the senator’s daughter who adored Booth yet tragically misunderstood the intensity of his wrath; and Mary Surratt, the Confederate widow entrusted with the secrets of his vengeful plot. Fates and Traitors brings to life pivotal actors—some willing, others unwitting—who made an indelible mark on the history of our nation. Chiaverini portrays not just a soul in turmoil but a country at the precipice of immense change.

A reimagining of the life of Lincoln's assassin describe booth's tumultuous childhood on a Maryland farm and rise of the ballrooms of Washington, D.C., at the sides of four women before he became obsessed with avenging the Confederacy.

Pledging her loyalty to the North at the risk of her life when her native Virginia secedes, Quaker-educated aristocrat Elizabeth Van Lew uses her innate skills for gathering military intelligence to help construct the Richmond underground and orchestrate escapes from the infamous Confederate Libby Prison.

Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example? How can we account for the relationship between aesthetics and politics in new forms of theatre, playwriting, and performance? The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance. Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Rancière and others