“That’s a lot of horse hockey, Hamilton.” Described by the New York Times as “classic activist theater” and “a cross between ‘A Christmas Carol’ and a trial at The Hague’s International Criminal Court.” "In this, his latest work, the protean Ishmael Reed--the legendary artist and prolific writer--continues to burnish his already sterling reputation by dismantling the 'Creation Myth' of the founding of the U.S., as represented in the incredibly profitable play and musical, Hamilton . Reed, a verbal acrobat of global renown, demonstrates here why he is widely considered to be the leading intellectual in the U.S. today." -Gerald Horne, author of The Counter-Revolution of 1776: Slave Resistance and the Origins of the USA This powerful play, originally produced at the Nuyorican Poets Café, comprehensively dismantles the phenomenon of Lin-Manuel Miranda and Hamilton . Reed uses the musical’s crimes against history to insist on a radical, cleareyed way of looking at our past and our selves. Both durable and timely, this goes beyond mere corrective – it is a meticulously researched rebuttal, an absorbing drama, and brilliant rallying cry for justice. The perfect tie-in to both the success of and backlash to Hamilton , it is the major voice in contrast to the recent movie. It captures both the earnest engagement that fans of the musical desire, as well as the exhausted disbelief of those who can’t stand it. Teachers, students and fans of drama, literature, and history will find much to love. It is written by one of America’s most respected and original writers, who is eagerly promoting it, and who is long overdue for a renaissance.

Salama Kassab was a pharmacy student when the cries for freedom broke out in Syria. She still had her parents and her big brother; she still had her home. She had a normal teenager’s life. Now Salama volunteers at a hospital in Homs, helping the wounded who flood through the doors daily. Secretly, though, she is desperate to find a way out of her beloved country before her sister-in-law, Layla, gives birth. So desperate, that she has manifested a physical embodiment of her fear in the form of her imagined companion, Khawf, who haunts her every move in an effort to keep her safe. But even with Khawf pressing her to leave, Salama is torn between her loyalty to her country and her conviction to survive. Salama must contend with bullets and bombs, military assaults, and her shifting sense of morality before she might finally breathe free. And when she crosses paths with the boy she was supposed to meet one fateful day, she starts to doubt her resolve in leaving home at all. Soon, Salama must learn to see the events around her for what they truly are—not a war, but a revolution—and decide how she, too, will cry for Syria’s freedom.