This handsome book captures in words and pictures the powerful emotions that circled around one man in Chicago in the early 1980’s: Harold Washington. More than one hundred pictures, from candid shots on the campaign trail to triumphant public appearances, give readers a window onto a man who won over an entire city. Washington’s mayoral win represented a faltering of the previously all-powerful Chicago Machine, and his campaign was a part of a larger civil rights crusade that forged unity in the black community in Chicago.

Antonio Dickey and Marc PoKempner were there with Washington throughout 1982-87, Dickey as his campaign and personal photographer and PoKempner on assignment for the New York Times, People, and Time, capturing the force of his personality and the inspiration he brought to Chicago. Their photographs have become the definitive documentation of the Harold years and were featured in the Chicago Historical Society’s 2003–2004 exhibit “Harold Washington: The Man and the Movement.” They were there for his underdog rise, his win, his first term, and his untimely death just seven months into his second term. The year 2007 marks the twentieth anniversary of Washington’s death, and this loving tribute in words and pictures will keep his message alive for future generations.

Pinter in Play provides a survey of diverse readings of the Harold Pinter canon organized around and presented in terms of the major critical schools of the past twenty-five years, from New Criticism to deconstruction to poststructuralism. Reflecting on the cultural, personal, sociological, and philosophical contexts of these diverse critical perspectives and the critics who express them, this book is equally about the act or the art of literary criticism and itself an important work of literary criticism. Drawing on interviews with Pinter scholars, Susan Hollis Merritt shows how critics "play" with Pinter and thereby seriously enforce personal, professional, and political affiliations. Cutting across traditional academic and nonacademic boundaries, Merritt argues that greater cooperation and collaboration among critics can resolve conflicts, promote greater social equity, and foster ameliorative critical and cultural change.