Branden Jacobs-Jenkins

"Judge Peyton is dead and his plantation Terrebonne is in financial ruins. Peyton's handsome nephew George arrives as heir apparent and quickly falls in love with Zoe, a beautiful octoroon. But the evil overseer M'Closky has other plans -- for both Terrebonne and Zoe. In 1859, a famous Irishman wrote this play about slavery in America. Now an American tries to write his own."--From the publisher.

"A timely, nuanced work that dissects the thorny debate around cultural appropriation and the literary imagination. How do we properly define cultural appropriation, and is it always wrong? If we can write in the voice of another, should we? And if so, what questions do we need to consider first? In Appropriate, creative writing professor Paisley Rekdal addresses a young writer to delineate how the idea of cultural appropriation has evolved--and perhaps calcified--in our political climate. Rekdal examines the debate between appropriation and imagination, exploring the ethical stakes of writing from the position of a person unlike ourselves. What follows is a penetrating exploration of fluctuating literary power and authorial privilege, about whiteness and what we really mean by the term "empathy." Rekdal offers a study of techniques, both successful and unsuccessful, that writers from William Styron to Peter Ho Davies to Jeanine Cummins have employed to create characters outside their own identities. Lucid, reflective, and astute, Appropriate presents a generous new framework for one of the most controversial subjects in contemporary literature"--

A hauntingly surreal play that plumbs the depths of a group of close friends reuniting for the first time in decades. Twenty years after graduating from a Catholic academy in Washington, DC, a group of old friends gathers on a porch to pregame their high school reunion. Bonded by a shared sense of alienation and by the traumatic events of their high school years, including the Columbine massacre and 9/11, as well as their own self-proclaimed “Multi-Ethnic Reject” status, the friends are nonetheless surprised to find their memories of core teenage experiences no longer match up. What they do share is a sense that their lives have been continually put on hold by one tragedy or another, up to and including the still-lingering Covid-19 pandemic. Haunting the group is the specter of Death, who serially inhabits each character throughout the play to reveal the substance beneath their chatter. As the friends’ competing versions of their teenage years lead to an increasingly charged encounter, they find themselves facing the difficult reckoning that their past actions may have irrevocably sealed their present fates.

Inspired by the 15th century morality play Everyman, Branden Jacobs-Jenkins' new work follows Everybody (played by one of five actors selected by lottery at the beginning of each performance) as he or she travels down a road toward life's greatest mystery and confronts the inevitable. An unpredictable and inventive inquiry into the ways we cope with our own mortality.

Branden Jacobs-Jenkins carefully retraces Hamilton 's origins as the musical that brought politicians “from both sides of the aisle,” from Michelle Obama calling it “the best work of art [she's] ever seen in any medium” to Hillary Clinton's quoting it at the end of her 2016 speech at the Democratic National Convention. This book squares the emergence of Hamilton as a cultural darling of the American leftist political classes with its portraits of a morally-questionable political figures in history told through the merging of two forms with notoriously radical roots. It parses how and why this Broadway musical reached the height of visibility that it has and what this communicates about the American sociopolitical climate and culture at the beginning of the 21st century - especially after one of the most discordant and alarming sociopolitical showdowns since the 19th century. And ultimately, though Hamilton is a perfectly enjoyable and impressively crafty piece of musical theater, it argues that it in many ways is not, in fact, revolutionary. Does Hamilton engage seriously with politics? Or is politics merely the backdrop for the same-old show business?

A double-volume containing two astonishing breakout plays from one of the theatre's most exciting and provocative young writers. In Appropriate, strained familial dynamics collide with a tense undercurrent of socio-political realities when the Lafayettes gather at a former plantation home to sift through the belongings of their deceased patriarch. An Octoroon is an audacious investigation of theatre and identity, wherein an old play gives way to a startlingly original piece.