Women Beware Women

One of the great Renaissance playwrights, Middleton wrote tragedies essentially different from either Marlowe's or Shakespeare's, being wittier than the former and more grittily ironic than the latter. The genre of 'citizen tragedy' came into its own in the eighteenth century, but Middleton can claim to have created it: Bianca, wife of a middling commercial agent, arouses the lust of the Duke of Florence and becomes his mistress, first secretly, then openly and finally, after her husband has been seduced by the scheming Lady Livia and stabbed by Livia's brother, the Duke's wife. Livia plots her revenge, and the play ends with a banquet and a masque that are a triumph of black farce. Middleton's powerful, psychologically complex female characters and his clear-sighted analysis of misogyny are bound to impress today's audiences, but it is the pervasive irony - cynicism, even - with which he dissects the motivations of both oppressor and victim that makes him so eerily modern.

THE STORY: Thomas Middleton's rarely performed masterpiece, WOMEN BEWARE WOMEN, is a fascinating and entertaining tragicomedy (or is it a comi-tragedy?) by one of Shakespeare's most popular contemporaries. This provocative play portrays a ruling cl

Written for the adult players at the open-air Swan theatre in 1613, this master-piece of Jacobean city comedy signals its ironic nature even in the title: chaste maids, like most other goods and people in London's busiest commercial area, are likely to be fake. Money is more important than either happiness or honour; and the most coveted commodities to be bought with it are sex and social prestige. Middleton interweaves the fortunes of four families, who either seek to marry their children off as profitably as possible, to stop having any more for fear of poverty, or to acquire some in order to keep their property in the family. Most prosperous is the husband who pimps his wife to a rich knight and lets him support the household with his alimony. Like many early modern critics of London's enormous growth, this play warned: the city is a monster that lives off the money the country produces.

The Changeling is a popular Renaissance tragedy in which the relationship between money, sex, and power is explored. Frequently performed and studied in University courses, it is a key text in the New Mermaids series.

Fiction. Malcolm has read so many English novels that Oxford feels as familiar as it does foreign when he arrives from New York to study Shakespeare in the intervals between crew practice. But all it takes is one drama student for life to shake loose his grasp of literature. Emma isn't the prettiest girl he's ever slept with, or the most well-read, but her mind most matches his. When she lands a part in a play Off-Off-Broadway and decamps to New York leaving no forwarding address, the irony that in a book would be artistic rankles in real life. Cast adrift, Malcolm miscalculates and breaks two ribs rowing. His Shakespeare tutor warns him not to let love get in the way of literature or at least not till they do the tragedies but as soon as term ends, Malcolm hops a plane to New York. Will he be able to steer his own course to the middle way his tutor's always touting? Or do happy endings only exist in books? "Gwen Thompson portrays Oxford dons, Upper East Side executives, and working-class English girls with the same breezy mastery, while reveling in the minutiae of Elizabethan drama, pub crawling, competitive rowing, and getting your heart broken. A thoroughly charming performance from a very talented young writer." Ralph Lombreglia"

"Women Beware Women" is among the most powerful and adroitly plotted of Jacobean tragedies. Written by Thomas Middleton, a later contemporary of Shakespeare, the play deals with topics of enduring fascination such as sexual and financial greed, the sexual exploitation of women by a manipulative older woman, murderous revenge and the sexual predatoriness of a man in a position of power. This edition is designed for the classroom and for the reader interested in the best in Renaissance drama.

A happily misanthropic Middle East divorcee finds refuge in books in a “beautiful and absorbing” novel of late-life crisis (The New York Times). Aaliya is a divorced, childless, and reclusively cranky translator in Beirut nurturing doubts about her latest project: a 900-page avant-garde, linguistically serpentine historiography by a late Chilean existentialist. Honestly, at seventy-two, should she be taking on such a project? Not that Aailiya fears dying. Women in her family live long; her mother is still going crazy. But on this lonely day, hour-by-hour, Aaliya’s musings on literature, philosophy, her career, and her aging body, are suddenly invaded by memories of her volatile past. As she tries in vain to ward off these emotional upwellings, Aaliya is faced with an unthinkable disaster that threatens to shatter the little life she has left. In this “meditation on, among other things, aging, politics, literature, loneliness, grief and resilience” (The New York Times), Alameddine conjures “a beguiling narrator . . . who is, like her city, hard to read, hard to take, hard to know and, ultimately, passionately complex” (San Francisco Chronicle). A finalist for the National Book Critics Circle Award and the National Book Award, An Unnecessary Woman is “a fun, and often funny . . . grave, powerful . . . [and] extraordinary” Washington Independent Review of Books) ode to literature and its power to define who we are. “Read it once, read it twice, read other books for a decade or so, and then pick it up and read it anew. This one’s a keeper” (The Independent)