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The plays of William Shakespeare are rare common ground in the United States. For well over two centuries, Americans of all stripes—presidents and activists, soldiers and writers, conservatives and liberals alike—have turned to Shakespeare’s works to explore the nation’s fault lines. In a narrative arching from Revolutionary times to the present day, leading scholar James Shapiro traces the unparalleled role of Shakespeare’s four-hundred-year-old tragedies and comedies in illuminating the many concerns on which American identity has turned.

In the years leading up to 1606, since the death of Queen Elizabeth and the arrival in England of her successor, King James of Scotland, Shakespeare's great productivity had ebbed, and it may have seemed to some that his prolific genius was a thing of the past. But that year, at age 42, he found his footing again, finishing a play he had begun the previous autumn - King Lear - then writing two other great tragedies, Macbeth and Antony and Cleopatra.

1599 was an epochal year for Shakespeare and England. During that year, Shakespeare wrote four of his most famous plays: Henry the Fifth, Julius Caesar, As You Like It, and, most remarkably, Hamlet; Elizabethans sent off an army to crush an Irish rebellion, weathered an Armada threat from Spain, gambled on a fledgling East India Company, and waited to see who would succeed their aging and childless queen.

For nearly two centuries, the authorship of William Shakespeare's plays has been challenged by writers and artists as diverse as Sigmund Freud, Mark Twain, Henry James, Helen Keller, Orson Welles, Malcolm X, and Sir Derek Jacobi. How could a young man from rural Warwickshire, lacking a university education, write some of the greatest works in the English language?

From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. The Playbook takes us through some of its most remarkable productions.

The final issue of 2020...we all dealt with the trauma of the year in different ways. For creatives, they expressed themselves in words and images. Here are stories that deal with race and bias, with fear and death. How we deal with losing a loved one...and an unloved one. There is some laughter in the mix, as well as some tears. Poetry, reviews, interviews, and a graphic short come together with outstanding illustrations to make a bit of brilliance here in the darkest month of the darkest year many of us have ever experienced.