Sam Shepard

Dramatizes how individuals misperceive the world.

A newly revised edition of an American classic, Sam Shepard's Pulitzer Prize winning Buried Child is as fierce and unforgettable as it was when it was first produced more than twenty-five years ago.A scene of madness greets Vince and his girlfriend as they arrive at the squalid farmhouse of Vince's hard-drinking grandparents, who seem to have no idea who he is. Nor does his father, Tilden, a hulking former All-American footballer, or his uncle, who has lost one of his legs to a chain saw. Only the memory of an unwanted child, buried in an undisclosed location, can hope to deliver this family.

2 m, 1 f. One act play, Drama. Two wanna-be rock stars await their takeout delivery--or is it their rock-n-roll messiah? An early work by "True West" playwright and actor Sam Shepard. Librarian's Note: No separate publication found at this time. Generally published in collections of Shepard works.

A major work by one of our theatre's most respected and celebrated writers, this award-winning examination of the dislocations of contemporary American society was produced with great success in both London and New York. The setting is a farmhouse in the American West, inhabited by a family who has enough to eat but not enough to satisfy the other hungers that bedevil them. The father is a drunk; the mother a frowzy slattern; the daughter precocious beyond her years; and the son a deranged idealist.

Here are eight of Pulitzer-prizewinning Sam Shepard's most stunning plays. This brilliant American dramatist creates what The New Yorker dubbed "Shepard Country"--a landscape of the imagination, a unique theatrical experience that captures our culture and consciouness, our fears and fantasies. FOOL FOR LOVE * ANGEL CITY * GEOGRAPHY OF A HORSE DREAMER * ACTION * COWBOY MOUTH * MELODRAMA PLAY * SEDUCED * SUICIDE IN Bb With an Introduction by Ross Wetzsteon “Sam Shepard is phenomenal...the best practicing American playwright.” — The New Republic “Sam Shepard is the most exciting presence in the movie world and one of the most gifted writers ever to work on the American stage.” —Marsha Norman “The most ruthlessly experimental and uncompromising of today's young writers.” —John Lahr “Sam Shepard fills the role of professional playwright as a good ballet dancer or acrobat fulfills his role in performance. That is, he always delivers, he executes feats of dexterity and technical difficulty that an untrained person could not, and makes them seem easy.” —Michael Feingold, The Village Voice "One of the most original, prolific, and gifted dramatists at work today.” — The New Yorker “Increasingly recognized as one of the more significant dramatists in the English-speaking world.” —Charles R. Bachman, Modern Drama

A solitary man digs a hole in the ground, near a dead horse. Amidst the clutter of food and equipment stands Hobart Struther, who has ridden all the way out to the middle of nowhere on a holy mission. But one day into his “Great Sojourn,” things are looking bleak. His horse has choked to death, he's miles away from civilization, and there's not a person around to talk to – other than himself. As Hobart examines his rise — how he built a vast art collection while ensconced in a comfortable Park Avenue lifestyle — he digs deep into his own history, unearthing truths about his past while still struggling to find the answers he needs. With Shepard's linguistic flair, subtle humor, and probing insights, Kicking a Dead Horse is an invigorating addition to the works of one of America's most innovative playwrights.

An extraordinary work of long fiction from the Pulitzer Prize-winning playwright — a tour de force of memory, mystery, death, and life. Sam Shepard's searing, evocative narrative opens with a man in his house at dawn, surrounded by aspens and by coyotes cackling far away as he quietly navigates the distance between present and past. More and more, memory is overtaking him: in his mind he sees himself in a movie-set trailer, his young face staring back at him in a mirror surrounded by lightbulbs. In his dreams and in visions he sees his late father — sometimes in miniature, sometimes flying planes, sometimes at war. By turns, he sees the bygone America of his childhood — the farmland and the feedlots, the rail yards and the diners — and, most hauntingly, his father's young girlfriend, with whom he also became involved, setting into motion a tragedy that has stayed with him. His complex interiority is filtered through views of mountains and deserts as he drives across the country, propelled by jazz, Benzedrine, rock and roll, and a restlessness born out of exile. The rhythms of theater, the language of poetry, and a flinty humor combine in this stunning meditation on the nature of experience, at once celebratory, surreal, poignant, and unforgettable.

If you visit Sam Shepard country, expect to find bayous, deserts, and junkyards where dreams rust alongside abandoned '51 Chevys. Prepare to meet broken gunmen and refugees from distant galaxies, slavering swamp things and California Highway Patrolmen gone high-tech and blood simple. It is a country whose creator does nothing less than renew America's myths. And sometimes he invents them from scratch. In these fourteen darkly funny, furiously energetic early works for the theater, our most audacious living playwright sets genres and archetypes spinning, with results that are utterly mesmerizing.

This American classic explores alternatives that might spring from the demented terrain of the California landscape. Sons of a desert dwelling alcoholic and a suburban wanderer clash over a film script. Austin, the achiever, is working on a script he has sold to producer Sal Kimmer when Lee, a demented petty thief, drops in. He pitches his own idea for a movie to Kimmer, who then wants Austin to junk his bleak, modern love story and write Lee's trashy Western tale.