
A stunning collection of plays from a Pulitzer Prize-winning playwright that captures the societal rupture of the early days of COVID-19.
On March 13, 2020, as theaters shut their doors and the world went into lockdown, Suzan-Lori Parks picked up her pen and set out to write a play every day. What emerged is a breathtaking chronicle of our collective experience throughout the troubling days and nights that followed. Parks's groundbreaking new work bears witness to what we've experienced and offers inspiration as we look ahead.
Suzan-Lori Parks is one of the most acclaimed playwrights in the American theater. She is the first African American woman to receive the Pulitzer Prize for Drama, for her 2002 play Topdog/Underdog. James Baldwin, Parks's mentor, declared her to be "an astonishing and beautiful creature who may become one of the most valuable artists of our time."
Her other plays include Father Comes Home from the Wars (Parts 1, 2 and 3), In the Blood, Venus, The Death of the Last Black Man in the Whole Entire World, Fucking A, Imperceptible Mutabilities in the Third Kingdom, and The America Play. In 2007, her 365 Days/365 Plays was produced at more than seven hundred theaters worldwide. Parks is a MacArthur Fellow and Master Writer Chair at The Public Theater. In 2018, she was awarded the Windham-Campbell Prize for Drama.
"An original whose fierce intelligence and fearless approach to craft subvert theat-rical convention and produce a mature and inimitable art that is as exciting as it is fresh." --August Wilson
"No work produced by an English-language dramatist of our time surpasses Suzan-Lori Parks for depth, complexity, poetry, originality, insight, and stunning dramatic power." --Tony Kushner
"She occupies pretty hallowed air: She's the one who walks among us . . . She's the reigning empress of the Black and weird in theater, and she really is the most suc-cessful dramatist of the avant-garde working today."--Branden Jacobs-Jenkins
"Parks's stark but poetic language and fiercely idiosyncratic images transform her work into something haunting and marvelous." --TIME
"She is a genre in and of herself. It is formally really dazzling, in terms of how she structures the play; there is humor underpinned with horror and political satire; there's this real thread of the blues and folkways and things that are just root Black American signifiers; it's musical, it's whimsical, it's playful, and it's dangerous--all of the stuff that's so exciting to see onstage." --James Ijames
"Her great subject is freedom. It's both what she writes about, and how she writes."--Oskar Eustis
"There's something very grounding about that peace that she carries. When she walks in the room, she carries the ancestors, the people we're trying to honor, with her. She's a national treasure for us." --Corey Hawkins