Captive Audience

Thomas Fahy is Lecturer in English at California Polytechnic State University in San Luis Obispo. He resides in Shell Beach, California. Kimball King is Professor of English at the University of North Carolina at Chapel Hill. He resides in Chapel Hill, NC.

• Contents General Editor's Note Captive Audience: An Introduction Part I 1. The Confessional Voice: Medea's Brutal Imagination 2. Emotional Contraband: Prison as Metaphor and Meaning in U.S. Latina Drama 3. Seeing Ethnicity: The Impact of Race and Class on the Critical Reception of Miguel Piñero's Short Eyes Part II 4. On Prisons in the United States 5. Harold Pinter's Prison House: The Screenplay of Kafka's The Trial 6. Harold Pinter's The Handmaid's Tale : Freedom, Prison, and a Highjacked Script 7. A World of Bodies: Performing Flesh in Marat/Sade 8. The Disposal : William Inge's Abject Drama 9. In Dark Corners: Masculinity and Art in Tennessee Williams's Not about Nightingales 10. Physical Prisons: Naomi Wallace's Drama of Captivity 11. No Exit and Waiting for Godot : Performances in Contrast Contributors

"Working at the intersection of theater and captivity, these essays use dramas about incarceration to reveal the brutality of prison life and raise cultural and moral questions about the prison system. Examining the 'captivity dramas" of playwrights that include Migdalia Cruz, Miguel Piñero, Samuel Beckett, and Americans Naomi Wallace, Tennessee Williams, and William Inge, these essays seek to challenge "the silence and invisibility" of prisons and prisoners." -- American Literature