Richard Nelson

"I am normally wary of any new play that could be called Chekhovian' it implies something fragile and wispily atmospheric. But Richard Nelson's extraordinary play about the pioneering playwright-director Harley Granville Barker combines a command of realistic detail with a sense of suffering and loss that genuinely evokes the Russian master. As in many of his previous plays, such as Some Americans Abroad, Nelson deals with cultural collision. In this instance, Granville Barker finds himself in Williamstown, Massachusetts, in 1916, surrounded by a group of English refugees. Disillusioned with English theatre, and with his marriage to Lillah McCarthy on the rocks, the great man is making a living by lecturing on the college circuit. This brings him into contact not only with fellow exiles, including a Dickensian recitalist and a love-struck female actor, but also with the deeply poisonous politics of American campus life. At one point, Granville Barker dreams of writing a non-Aristotelian play in which there wouldn't be any doing', only being'. And, in many respects, that is just what Nelson himself has created. There is not a lot of plot: simply a mesmerising record of a group of people all in flight from their own unhappiness. Granville Barker, you feel, is not just escaping London theatre, but also his traumatic memories of a European war to which he was sent to write about the Red Cross. Beatrice, the ex-pat actor, is likewise trying to get away from a doomed marriage by having a passionate affair with an undergraduate. As the twinkling Dickensian points out, they all treat America as if it were a Shakespearean forest that could transform their lives. It may not quite do that but, as Nelson artfully suggests, it does temporarily restore Granville Barker's faith in his chosen medium." Michael Billington, The Guardian

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Richard Nelson uses the familiar tale of Rip Van Winkle as the basis for his epic study of American agrarian reform, the Industrial Revolution, and the labor movement. "...The play has a smart, engaging premise. Rip Van Winkle's sleep and waking are used to frame a variety of themes: men and women, parents and children, alcoholism, superstition, and, above all, the battle between industry and agriculture in the social history of the Hudson Valley. The style is also interesting: a kind of terse Bondian dialogue in short Brechtian scenes which allow the audience to find its own path between two ends of an imaginative leap..." Erika Munk, The Village Voice

A mock 1930s farce in which hilarity reigns supreme. "...if you can believe that a play can be part ROOM SERVICE, part Das Capital and part His Girl Friday, you've got the premise of the wildly funny AN AMERICAN COMEDY. The play is such an accurate pastiche of the time, that some audiences have taken it for a genuine comedy written in the thirties. There's so many doors slammed, fires put out, trunks shut, typewriters ruined, disrobings, and darts thrown that at times you think you've wandered into a lost Marx Brothers comedy..." Diane Wright, The Herald

This book, written in 1973, is for readers interested in the naval history of the ancient peoples of the Mediterranean. The period covered starts with Greek and Phoenician vessels of 800-700 BC and includes ships up to 800 AD. The aim of the book is to fill a gap by concentrating on the practical aspects of naval warfare in antiquity, and the battles selected for description are intended to show the development of tactics and strategy, rather than illustrate the general history of the period. It includes descriptions of the ships, crews, tactics and campaigns of Greek, Persian, Carthaginian, Hellenic, Roman, Celtic, Germanic, Scandinavian and Byzantine fleets. Long out of print, this reprint brings an important text to modern readers.

"Wonderful...HUNGRY, a work in which nothing much happens beyond some contemplative pre-dinner chatter, may well be the most resonantly topical and emotionally engaging play of this election year." Ben Brantley, New York Times " HUNGRY's] thousand acts of extreme daily realism, from chopping vegetables to the constant dance of interpersonal negotiation, amount to a kind of human politics, dramatizing, as many more 'dramatic' plays cannot, the historic conflict and consolations of living in our country right now." Jesse Green, New York Magazine " Nelson] may just be quietly building a masterwork." Linda Winer, Newsday "If you want to understand the forces driving the current presidential election, pay close attention to this play." The Daily Beast "Richard Nelson's quietly incandescent play HUNGRY, a play that feels as fresh as if it was written this morning..." Jeremy Gerard, Deadline/Hollywood "...delivers the sort of intimacy rarely encountered on the stage." Frank Scheck, The Hollywood Reporter

The poster as we know it dates from the Industrial Revolution, although one form of outdoor advertising has existed for many centuries. Industrialisation meant that producer became separated from consumer while production for mass consumption rapidly increased, so that a development was necessary in the methods employed in bringing to public notice the merits and very existence of many goods. Billsticking began, a business rife with skulduggery, and in the second half of the nineteenth century an enterprising billposter took the step that changed outdoor advertising forever: he rented a site. From there the industry has grown apace, and Outdoor Advertising makes sense of these changes by looking at its practical side, the contractor, the agent, the designer, and the planning side, including site selection, as well as looking at specific campaigns and how their audience have received them. This, then, is a book about outdoor advertising, its design and colourful presentation, its place in the advertising and marketing story.First published in 1953.

"Sharp, engrossing . . . a soft-spoken play of ideas."--"Time," on "That Hopey Changey Thing""A soul-stirring new play. . . . Mr. Nelson has a peerless grasp of the perils of family intimacy."--"The New York Times," on "Sweet and Sad"""Sorry"--one of the best plays to emerge this fall in New York--affirms the Apple cycle as the prolific Nelson's most satisfying drama to date."--"The Washington Post" "No previous works of theater have been topical in the resonant and specific ways of the Apple Family plays... a rare and radiant mirror of the way we live -- and fail to live -- now."-"The New York Times" on "Regular Singing." This critically acclaimed, searing play cycle about loss, memory, and remembrance follows the Apple family of Rhinebeck, New York, as they grapple with events both personal and current in the immediate present: the 2010 election ("That Hopey Changey Thing"), the tenth anniversary of 9/11 ("Sweet and Sad"), Barack Obama's re-election ("Sorry"), and the fiftieth anniversary of JFK's assassination, ("Regular Singing"). This quartet of plays, directed by the author, has featured an ensemble of six actors who, together, have delivered a master class on acting for the stage.Richard Nelson's many plays include "Rodney's Wife," "Goodnight Children Everywhere," the Drama Desk-nominated "Franny's Way" and "Some Americans Abroad," Tony Award-nominated "Two Shakespearean Actors," and "James Joyce's The Dead" (with Shaun Davey), for which he won a Tony Award for Best Book of a Musical. Over the next ten years, Nelson will be collaborating with pre-eminent translators Richard Pevear and Larissa Volokhonsky on a major translations series of important Russian plays, beginning with Nikolai Gogol's "The Inspector" in 2014.

This book argues that the current international intellectual property rights regime, led by the World Trade Organization (WTO), has evolved over the past three decades toward overemphasizing private interests and seriously hampering public interests in access to knowledge and innovation diffusion. This approach concentrates on tangible and codified knowledge creation and diffusion in research and development (R&D) that can be protected via patents and other intellectual property rules and regulations. In terms of global policy initiatives, however, it is becoming increasingly clear that the WTO in particular is mostly a conflict-resolution facility rather than a global governance body able to generate cooperation and steer international coordinated policy action. At the same time, rent extraction and profits streaming from legal hyperprotection have become pervasively important for firm strategies to compete in a globalized marketplace. “Knowledge Governance: Reasserting the Public Interest” offers a novel approach – knowledge governance – in order to move beyond the current regime.

Unfolding on the 50th anniversary of John F. Kennedy's assassination, REGULAR SINGING is the final play in Richard Nelson's series chronicling the lives and times of the Apple family in upstate New York. "To my knowledge, no previous works of theater have been topical in the resonant and specific ways as the Apple Family plays. REGULAR SINGING, the fourth and final installment of Richard Nelson's wonderful, sui generis Apple Family plays, this deeply intimate drama is about how we remember our living and our dead ... A rare and radiant mirror of the way we live - and fail to live - now." -Ben Brantley, New York Times "After a holiday weekend, it is natural to miss the family. But the family I'm missing now is named Apple and lives up the Hudson in Rhinebeck. These are the six people with whom I spent intimate, deeply moving and satisfying evenings. The Apple Family: Scenes from Life in the Country is] an extraordinary four-play cycle ... one of the major American plays of our time." -Linda Winer, Newsday "Smart and funny, moving and touching, honest and thoughtful ... The fantastic fourth and final installment in Mr Nelson's Apple Family plays." -Jesse Oxfeld, New York Observer "An extraordinary achievement ... A quietly devastating look at final things, and the last word in the unmatched power of stage naturalism." -Jesse Green, New York Magazine "... bids farewell to the clan we have come to know with almost unbearable intimacy throughout four plays ... These plays approach the question of how we live now with an immediate, nearly pointillist specificity." -Alexis Soloski, The Village Voice "This intensely naturalistic drama consists of hushed, emotionally resonant conversations about matter personal and political, amid laughter, tears, food and drink ... These plays] are civilized ways for an audience (leaning in, listening close) to form a temporary clan with some lovingly rendered fictional creations. It's good to be home." -David Cote, Time Out New York

Richard Nelson's play Nikolai and the Others is "an engrossing work . . . marvelous" (New York magazine). In Nikolai and the Others, Richard Nelson imagines the relationships between Balanchine and Stravinsky, their friends, lovers, wives and ex-wives, supporters, and dancers (including Maria Tallchief and Nicholas Magallanes), at the time of their historic collaboration on the ballet Orpheus. Orpheus would be the spectacular inaugural production of the newly formed New York City Ballet. The play also explores the controversial ways American art and artistic institutions were funded at the outset of the Cold War--including the subtle hand of the State Department in the postwar cultural scene.

The poster as we know it dates from the Industrial Revolution, although one form of outdoor advertising has existed for many centuries. Industrialisation meant that producer became separated from consumer while production for mass consumption rapidly increased, so that a development was necessary in the methods employed in bringing to public notice the merits and very existence of many goods. Billsticking began, a business rife with skulduggery, and in the second half of the nineteenth century an enterprising billposter took the step that changed outdoor advertising forever: he rented a site. From there the industry has grown apace, and Outdoor Advertising makes sense of these changes by looking at its practical side, the contractor, the agent, the designer, and the planning side, including site selection, as well as looking at specific campaigns and how their audience have received them. This, then, is a book about outdoor advertising, its design and colourful presentation, its place in the advertising and marketing story.First published in 1953.

This book argues that the current international intellectual property rights regime, led by the World Trade Organization (WTO), has evolved over the past three decades toward overemphasizing private interests and seriously hampering public interests in access to knowledge and innovation diffusion. This approach concentrates on tangible and codified knowledge creation and diffusion in research and development (R&D) that can be protected via patents and other intellectual property rules and regulations. In terms of global policy initiatives, however, it is becoming increasingly clear that the WTO in particular is mostly a conflict-resolution facility rather than a global governance body able to generate cooperation and steer international coordinated policy action. At the same time, rent extraction and profits streaming from legal hyperprotection have become pervasively important for firm strategies to compete in a globalized marketplace. “Knowledge Governance: Reasserting the Public Interest” offers a novel approach – knowledge governance – in order to move beyond the current regime.