This is the Revised 1831 Edition of FRANKENSTEIN; OR, THE MODERN PROMETHEUS, a novel written by the English author Mary Wollstonecraft Shelley about the young science student Victor Frankenstein, who creates a grotesque but sentient creature in an unorthodox scientific experiment. Shelley started writing the story when she was eighteen, and the novel was published when she was twenty. The first edition was published anonymously in London in 1818. Shelley's name appears on the second edition, published in France in 1823. Shelley had travelled through Europe in 1814, journeying along the river Rhine in Germany with a stop in Gernsheim which is just 17 km away from Frankenstein Castle, where, two centuries before, an alchemist was engaged in experiments. Later, she travelled in the region of Geneva (Switzerland)-where much of the story takes place-and the topic of galvanism and other similar occult ideas were themes of conversation among her companions, particularly her lover and future husband, Percy Shelley. Mary, Percy, Lord Byron, and John Polidori decided to have a competition to see who could write the best horror story. After thinking for days, Shelley dreamt about a scientist who created life and was horrified by what he had made; her dream later evolved into the novel's story.

Shelley completed her writing in May 1817, and Frankenstein; or, The Modern Prometheus was first published on 11 March 1818 by the small London publishing house of Lackington, Hughes, Harding, Mavor, & Jones. The second edition of Frankenstein was published on 11 August 1822 in two volumes (by G. and W. B. Whittaker) following the success of the stage play Presumption; or, the Fate of Frankenstein by Richard Brinsley Peake; this edition credited Mary Shelley as the author.

On 31 October 1831, the first popular edition in one volume appeared, published by Henry Colburn & Richard Bentley. This edition was heavily revised by Mary Shelley, partially because of pressure to make the story more conservative, and included a new, longer preface by her, presenting a somewhat embellished version of the genesis of the story. This edition tends to be the one most widely read now, although editions containing the original 1818 text are still published. Many scholars prefer the 1818 text, arguing that it preserves the spirit of Shelley's original publication.

WINNER OF THE PULITZER PRIZE FOR DRAMA 2023 -- ENGLISH

In this two-play volume, Pulitzer Prize-winning playwright Sanaz Toossi explores the emotional toll of migration, both for those who leave and those who stay.

Taken together, English and Wish You Were Here offer a moving portrait of the complex effects of the Iranian diaspora.

2024 Tony Award winner for Best Book of a Musical and Best Original Score

A musical one hundred years in the making, Suffs brings to life a complicated chapter in the ongoing battle for the right to vote. Written by one of the most exciting new voices in theater, this epic new musical takes an unflinching look at the unsung trailblazers of the American women's suffrage movement.

In the seven years leading up to the passage of the 19th Amendment in 1920, an impassioned group of suffragists--Suffs as they called themselves--took to the streets, pioneering protest tactics that transformed the country. They risked their lives as they clashed with the president, the public, and each other.

A thrilling story of brilliant, flawed women working against and across generational, racial, and class divides, Suffs boldly explores the victories and failures of a fight for equality that is still far from over.

Here in one convenient volume are the two versions of the same story that Susan Glaspell wrote. 'Trifles', her first play, was performed and published in 1916; the following year, Glaspell wrote 'A Jury of Her Peers as a short story version of the same story in order to reach a wider audience. Both texts are early feminist masterpieces, and with this edition readers can read both versions of this classic story which challenges male prejudice.

The Yellow Wallpaper (original title: The Yellow Wall-paper. A Story) is a 6,000-word short story by the American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine. It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's health, both physical and mental.

Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of exercise and air, so she can recuperate from what he calls a temporary nervous depression - a slight hysterical tendency, a diagnosis common to women in that period. She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. The room's windows are barred to prevent children from climbing through them, and there is a gate across the top of the stairs, though she and her husband have access to the rest of the house and its adjoining estate.

The story depicts the effect of understimulation on the narrator's mental health and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper. It is the strangest yellow, that wall-paper It makes me think of all the yellow things I ever saw - not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper - the smell ... The only thing I can think of that it is like is the color of the paper A yellow smell.

In the end, she imagines there are women creeping around behind the patterns of the wallpaper and comes to believe she is one of them. She locks herself in the room, now the only place she feels safe, refusing to leave when the summer rental is up. For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way.

Source: Wikipedia

In No Place Like Home, readers find a deeply compassionate guide designed to uplift, encourage, and empower survivors of sexual, mental, emotional, and physical abuse. This transformative book is created for those who are ready to reclaim their voices and embark on a journey of healing. It acknowledges the depth of pain that comes from trauma and offers a path forward, balancing introspection, self-love, and faith.

Ultimately, No Place Like Home is a testament to the power of faith, resilience, and community. It is a space where survivors can rediscover their voices, rebuild their strength, and cultivate a sense of self-worth. This book reminds readers that healing is a journey, not a destination and that they are never alone in their struggles. By the end, survivors are encouraged to embrace their own resilience and find peace in the knowledge that they are loved, valuable, and capable of overcoming anything.

Scriptural support is interspersed throughout the book, offering spiritual encouragement for those who seek solace in their faith. These passages are chosen to reinforce hope, provide comfort, and serve as a foundation for rebuilding self-belief and confidence. Alongside each scripture, readers are encouraged to reflect on its meaning and how it can guide their healing journey.

A unique feature of No Place Like Home is its use of QR codes placed strategically in each chapter. These codes link directly to a curated list of resources, connecting readers to hotlines, online communities, and mental health organizations that offer professional support for abuse survivors. The resources are designed to extend the book's guidance beyond its pages, offering survivors a lifeline to additional assistance when they need it most.

A deceptively simple flavor-bomb of a new comedy about survival, second chances, and digesting whatever life serves up. --Naveen Kumar, Variety

With a chance at reclaiming their lives, the formerly incarcerated people working at Clyde's, a roadside sandwich stop, strive hard to overcome their personal challenges. Not so easy under their boss Clyde. In this razor-sharp comedy, this motley crew of line cooks, under a visionary chef, are given purpose and permission to dream through their shared quest to create the perfect sandwich.

This marvelous little guide provides the beginning novelist with a step-by-step plan for writing fiction. An experienced editor takes you through the various forms of outlines that will help you to start - and finish - your first or even your second or third novel, whether it's a mystery, spy thriller, sci fi or a romance. There are sections on: Plots, Locale, Characters, Dialogue, Sex Scenes, Writing Technology and Developing Your Style, as well as Editing and Marketing. Sample outlines are included that you can use as the basis for planning your book. If you're an aspiring writer, this will get you started constructing something readable - maybe not The Great American Novel, but at least a serviceable beach read and maybe even a series of works that can bring you a steady income stream.

Katie knows she's died...again. Each time she wakes from the dream, it feels real-a haunting memory she can't escape. As an award-winning journalist in 2020, Katie is used to uncovering truths, but her confidence has been shaken by a personal tragedy and the vivid dreams of lives she's certain she's lived before.

Sarah, a singer in the turmoil of the 1940s, finds solace in her son and her music. Rosamund, a fierce woman in 1400s Italy, has had enough of the horrors around her and vows to protect her community. Anya, a healer from an ancient village, struggles to lead her people through hardship. And Jenice, a lost girl, just wants to go home.

Connected across lifetimes, these women's stories echo with themes of motherhood, resilience, and purpose. As Katie pieces together their lives, will she uncover a deeper meaning behind her own as she confronts her grief?

The Yellow Wallpaper (original title: The Yellow Wall-paper. A Story) is a 6,000-word short story by the American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine. It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's health, both physical and mental.

Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of exercise and air, so she can recuperate from what he calls a temporary nervous depression - a slight hysterical tendency, a diagnosis common to women in that period. She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. The room's windows are barred to prevent children from climbing through them, and there is a gate across the top of the stairs, though she and her husband have access to the rest of the house and its adjoining estate.

The story depicts the effect of understimulation on the narrator's mental health and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper. It is the strangest yellow, that wall-paper It makes me think of all the yellow things I ever saw - not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper - the smell ... The only thing I can think of that it is like is the color of the paper A yellow smell.

In the end, she imagines there are women creeping around behind the patterns of the wallpaper and comes to believe she is one of them. She locks herself in the room, now the only place she feels safe, refusing to leave when the summer rental is up. For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way.

Source: Wikipedia

A funny and profound meditation on the complexity of chronic illness and the ache of desire.

At a clinic in Northern California, five women recline on patio lounge chairs. They are fasting, drinking only water or juice in the hope that the deprivation will help their bodies begin to heal from a litany of afflictions--cancers and autoimmune disorders and thyroid conditions and mysterious infections. To distract themselves from the near-constant pain they are in, they philosophize and swap book recommendations, confide intimate family stories and share hopes for their future recoveries. Over the course of several days, the clinic becomes a purgatorial space, where prolonged hunger and suffering seem to warp time itself. The women's meandering discussions slowly accumulate a powerful emotional resonance, leading to deep and troubling questions: is there any meaning to be found in pain, or is it merely something to be endured? Can physical intimacy be an antidote to suffering, or is it only a brief distraction? An engrossing and compassionate play that resists easy answers to the problem of what it means to reside in a body that fails you.

A dynamic kaleidoscope of story that honors the work of women.

Kin is a story and a celebration of Black womanhood, of resistance, and of perseverance--while simultaneously an indictment of American history. Kin is a tree--alive in places, broken in others--that offers shelter for women seeking respite in the midst of family-making. This tree depicts family grafted together by blood, law, or choice; its stories are voiced through blues-infused poetry, one-act plays, oral history, and reportage that are combined to form an orchestra of Black history and re-memory.

Centered on the labor of women, the movement of women through lives and time, and the work of building associations that make up the home, this book takes up the rhythms and multifarious forms of its inspiration, Cane, the 1923 novel by Jean Toomer. The roots from which it all grows are the ancestors who ensure from the spirit realm that the family remains grounded and verdant, despite the manifold threats to its health and well-being. Kin is a tribute to forebearers, a beacon to those calling homes into being, and a strata of stories for children not yet born.

Revelatory...As intimate and immediate as a whispered secret. Vogel's play thrums with music, desire, and fear, and it's shrewd about the ways in which America isn't free, and about how art does and doesn't transcend the perilous winds of history. --New Yorker

Superbly realized...Indecent, the powerful play by Paula Vogel, sheds an eye-opening light on a little-known time when theatrical history, Jewish culture, and the frank depiction of homosexuality intersected, with explosive results. --New York Times

Gorgeous. Illuminating and heartbreaking. Rich in sympathy and humor, Indecent has the scope of an epic but the intimacy of a chamber piece...It celebrates and illustrates the power of theater. --Time Out New York

A moving and fascinating play...A singular achievement... The historical perspective is vast and knowing...Has there ever been anything quite like Indecent, a play that touches--I mean deeply touches--so much rich emotion about history and the theater, anti-Semitism, homophobia, censorship, world wars, red-baiting, and oh, yes, joyful human passion?...An extraordinary play. --Newsday

Indecent is more than a play about forbidden love: It's about theater as a life force. --New York Post

When Sholem Asch wrote God of Vengeance in 1907, he didn't imagine the height of controversy the play would eventually reach. Performing at first in Yiddish and German, the play's subject matter wasn't deemed contentious until it was produced in English, when the American audiences were scandalized by the onstage depiction of an amorous affair between two women. Paula Vogel's newest work traces the trajectory of the show's success through its tour in Europe to its abrupt and explosive demise on Broadway in 1923--including the arrest of the entire production's cast and crew.

Paula Vogel is the Pulitzer Prize-winning author of How I Learned to Drive. Her other plays include Don Juan Comes Home from Iraq, A Civil War Christmas, The Long Christmas Ride Home, and The Baltimore Waltz, among others. She has also had a distinguished career as a teacher and mentor to younger playwrights, first at Brown University and then at the Yale School of Drama.

A wry, innovative reckoning with the legacy of the Salem witch trials from one of America's foremost playwrights.

Becky Nurse is an outspoken, sharp-witted tour guide at the Salem Museum of Witchcraft who's just trying to get by in post-Obama America. She's also the descendant of Rebecca Nurse, who was infamously executed for witchcraft in
1692--but things have changed for women since then...haven't they? After losing her job for calling out The Crucible in front of schoolkids, Becky visits a local witch for help. One spell leads to another, and then everything really goes off the rails. A darkly comic play about a woman coming to terms with her family's legacy and finding her voice in the lock her up era.

Immensely haunting... The first of many great things about Martyna Majok's Cost of Living... is the way it slams the door on uplifting stereotypes... Ms. Majok has engineered her plot to lead naturally to moments of intense and complicated pungency... If you don't find yourself in someone in Cost of Living, you're not looking. --Jesse Green, New York Times

Winner of the 2018 Pulitzer Prize for Drama, Cost of Living deftly challenges the typical perceptions of those living with disabilities and delves deep into the ways class, race, nationality, and wealth can create gulfs between people, even as they long for the ability to connect. Eddie, an unemployed truck driver, and his estranged ex-wife, Ani, find themselves unexpectedly reunited after a terrible accident leaves her quadriplegic. John, a brilliant PhD student with cerebral palsy, hires Jess, a first-generation recent graduate who has fallen on desperate times, as his new aide.

Grocery-store clerk Beth has had a hell of a week. A hell of a life, actually, full of people squashing her soul. And after pushing back at life--stabbing a steak to her boss's desk and lighting a magazine rack on fire, for instance--freshly unemployed Beth regroups at her mom's suburban home. Just when Beth starts to think she's to blame for systemic limits, the gift of a bird feeder sparks a relationship with a talking Crow who reconnects her with her true power.

This sly chamber piece from new voice Caleigh Crow turns post-capitalism ennui on its head with a righteous fury. It unearths the subtle (and not so subtle) ways we gaslight the marginalized, especially Indigenous women, people living with mental-health afflictions, and anyone struggling to make ends meet in low-income service jobs. There Is Violence captures the vivacity and humour of one truly remarkable woman not meant for this earth, and brings her to her own glorious transcendence.

Context, Synecdoche, Homonym, and Polyseme live in a house laden with clutter, but Etymology keeps bringing new deliveries for Context: a blank book, a conversation with the dentist, a key. Homonym and Polyseme sort and rearrange; they send what they can to the cloud (via helium balloon); occasionally they smuggle out old things, lost for years, and new things they know Context will never need. Synecdoche tries to hold it all together and sings. Meanwhile, Context wonders whether listening is work--if it is labor, if it matters, and if what matters (if it matters) can be retrieved from the ever-accumulating material of living. meronymy is a kaleidoscopic, audiovisual performance-portrait of the technologies, ancient and modern, by which we cling to what we might otherwise forget. With wry tenderness and formal dexterity, Jendrzejewski builds a space in which to reckon with memory, loss, intrusion, and overflow amidst the cacophonic practice of living in language together.

BEST PLAY OF THE YEAR -- New York Times, New Yorker, TIME, Hollywood Reporter, Newsweek, BuzzFeed, Forbes, New York Magazine, NPR, Washington Post, Entertainment Weekly, Los Angeles Times, Chicago Tribune

Finalist for the 2019 Pulitzer Prize for Drama

When she was fifteen years old, Heidi Schreck started traveling the country, taking part in constitutional debates to earn money for her college tuition.

Decades later, in What the Constitution Means to Me, she traces the effect that the Constitution has had on four generations of women in her family, deftly examining how the United States' founding principles are inextricably linked with our personal lives.

Obie Award for Playwriting -- Sanctuary City

Two compelling, uncompromising plays about the immigrant experience by the Pulitzer Prize and Tony Award-winning playwright of Cost of Living. With humor, grace, and an unsentimental eye, Martyna Majok explores the challenges immigrants face as they strive to carve out a place in a harsh and often indifferent America.

In Ironbound, Darja, a Polish immigrant, negotiates the terms for her future at a rundown bus stop in New Jersey. Over the course of 20 years and three relationships, Darja's initial search for love becomes eclipsed by her desire for security and survival.

In Sanctuary City, two undocumented teenagers seek refuge in each other and make a pact to stake their claim in America together. But as their experiences and opportunities diverge, their bonds begin to fray, and each must make a difficult choice about what they are willing to sacrifice for their dreams.

I would like to dedicate this book to my kids and all of their cousins.

Many of these stories are based on facts and experiences with several family members. Some are true, and some could not be true.

I would like to thank The Maine Historian for inspiring me to write about the house I lived in as a child and the whole neighborhood block.

Thank you for all your support on writing my childhood story, allowing me to share a lot of memories in a little girl's mind.