Augusta, Lady Gregory Early writings What were some of the early writings of Augusta? Lady Gregory had an affair with the English poet Wilfrid Scawen Blunt, during which she wrote a series of love poems, A Woman's Sonnets. Are there any other interesting aspects about this article? Her earliest work to appear under her own name was Arabi and His Household (1882), a pamphlet--originally a letter to The Times How were her early writings received by critics and the public? I don't know. What other works did she produce early on? in 1893 she published A Phantom's Pilgrimage, or Home Ruin, an anti-Nationalist pamphlet against William Ewart Gladstone's proposed second Home Rule Act. Did she collaborate with anyone? I don't know. What were her best-known works? I don't know.
What plays did she write?
What plays did Augusta write?
The Gregorys travelled in Ceylon, India, Spain, Italy and Egypt. While in Egypt, Lady Gregory had an affair with the English poet Wilfrid Scawen Blunt, during which she wrote a series of love poems, A Woman's Sonnets. Her earliest work to appear under her own name was Arabi and His Household (1882), a pamphlet--originally a letter to The Times--in support of Ahmed Orabi Pasha, leader of what has come to be known as the Urabi Revolt, an 1879 Egyptian nationalist revolt against the oppressive regime of the Khedive and the European domination of Egypt. She later said of this booklet, "whatever political indignation or energy was born with me may have run its course in that Egyptian year and worn itself out". Despite this, in 1893 she published A Phantom's Pilgrimage, or Home Ruin, an anti-Nationalist pamphlet against William Ewart Gladstone's proposed second Home Rule Act. She continued to write prose during the period of her marriage. During the winter of 1883, whilst her husband was in Ceylon, she worked on a series of memoirs of her childhood home, with a view to publishing them under the title An Emigrant's Notebook, but this plan was abandoned. She wrote a series of pamphlets in 1887 called Over the River, in which she appealed for funds for the parish of St. Stephens in Southwark, south London. She also wrote a number of short stories in the years 1890 and 1891, although these also never appeared in print. A number of unpublished poems from this period have also survived. When Sir William Gregory died in March 1892, Lady Gregory went into mourning and returned to Coole Park; there she edited her husband's autobiography, which she published in 1894. She was to write later, "If I had not married I should not have learned the quick enrichment of sentences that one gets in conversation; had I not been widowed I should not have found the detachment of mind, the leisure for observation necessary to give insight into character, to express and interpret it. Loneliness made me rich--'full', as Bacon says." CANNOTANSWER
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Reiko Mori (森禮子) (July 7, 1928  March 28, 2014) was a Japanese novelist and playwright. She was awarded the Akutagawa Award for her book Mokkingubado no iru machi (モッキングバードのいる町) in 1979.

Early life and education 
Mori was born Reiko Kawada on July 7, 1928 in Fukuoka, Japan. Her father died in 1933, and her one of her sisters died in 1945. Mori was a sickly child, and while ill in bed, would often read. However, the family did not have much money, so she could not afford to go to university. She but was able to audit classes while working at the Seinan University library, and began writing after meeting a group of poets while working at the library. She became a Baptist Christian in 1947.

Career 
In 1952,  moved into the house next door to Mori's. He published her poems, stories, and essays in his literary magazine, the Kyushu Bungaku. She wrote under the penname "Reiko Mori". Mori moved to Tokyo in 1956, and was encouraged to continue publishing by Ashihei Hino. After meeting Rinzo Shiina in 1960, she began to write about similar themes to his works. Many of her early works were nominated or shortlisted for awards.

She visited Europe in 1972 and the United States in 1975. After the latter trip she wrote a book called Mokkingubado no iru machi (モッキングバードのいる町), which won the Akutagawa Award in 1979. She then visited South Korea and wrote a book called Sansai no onna (三彩の女) in 1983.

Mori died of pancreatic cancer on March 28, 2014.

Style 
Mori began her career by writing short stories and plays. After meeting Shiina, she began to write more plays that had themes of emancipation. She frequently wrote about hidden Christians during the Edo period. After Shiina died in 1973, she began to write children's plays and essays about her faith. She also began writing literary criticism. Toward the end of her career Mori wrote about women's issues and published two biographies, one of Sumako Matsui and another of Yaeko Batchelor.

Selected bibliography 

 Chinkon kyoku (鎮魂曲), 1957
 Mokkingubado no iru machi (モッキングバードのいる町), 1979
 Goto kuzure (五島崩れ), 1980
 Jinsei no mawari michi (人生のまわり道), 1981
 Sansai no onna (三彩の女), 1983
 Kamin chu (神女), 1989

References 

1928 births
2014 deaths
Japanese women novelists
People from Fukuoka
Japanese Baptists
20th-century Baptists Elaine Romero is a Latina playwright, who grew up close to the border in San Juan Capistrano, California and has lived in Tucson, Arizona for many years. She is now an Associate Professor at the University of Arizona, teaching playwriting, script writing, and dramaturgy.

Childhood 
Romero has three brothers. Her mother was an educator and her father was a businessman. Her parents encouraged Romero and her siblings to be socially conscious and to be able to express their thoughts. As a result, her home was a home where “conversations about poverty, the death penalty, the prevalence of homelessness, presidential elections and warfare were commonplace, as were talks about the importance of community and charity”. This social consciousness is reflected in her plays, where characters that live in tragic and unfortunate situations are explored and social justice issues are presented to start conversations. Her work oftentimes presents characters that exist in more than one realm. She believes that every individual exists in different planes and is interested in capturing those unique experiences.  

Romero began writing at a young age, but she didn’t tell anyone. In fact, her mother didn’t discover her daughter’s interest in writing until she found and read Romero’s diary while cleaning the house. In high school, she mostly wrote short stories. At age fifteen, she went to a PEN conference with a short story about the death of her uncle, who died during active duty.

Education 
Romero received her BA in Creative Writing from Linfield College (now Linfield University) and her MFA in Playwrighting from University of California, Davis. At the beginning of her undergraduate education, she planned to get major in literature, get her PhD, and become a literature teacher. Her first semester at Linfield, she took a dramatic literature class, and her second semester, she took a creative writing class with the same professor. When the only words coming to her were dialogue, her professor suggested she write a play. At nineteen years old, Romero realised that instead of teaching what other authors had written, she wanted to explore what she was capable of writing. Coincidentally, Linfield had just added a creative writing major, so Romero switched from literature to creative writing, becoming one of the first creative writing majors to graduate from Linfield. In retrospect, she realises how important it was that she took a chance on herself. She completed her BA in three years, graduating second in her entire class. Her thesis was a novella, titled Dead Birds Don’t Sing, which was the beginning of her fascination with the potential of nuclear war. This story inspired the final play in Romero’s pentalogy on war.

Knowing she wanted to be a playwright, Romero began her master’s program at University of California, Davis immediately after graduating. She was given a full ride, and spent three years in the program, getting many of her plays produced by the department.

After moving to Arizona, Romero began a long-term residency with the Arizona Theatre Company. She is also a student of renowned Latine playwright, Maria Irene Fornes.

Role in the Latine Theatre Community 
Romero is part of Latinx Theatre Commons, and runs a contest for Latine playwrights to support up-and-coming artists. She is committed to uplifting other playwrights of colour, using her success to bring success to others, and being generous with her time and energy to empower those who are also telling the stories that need to be told.

Writing Process 
According to Romero, “rewriting is writing”. She writes many drafts of each play, and is a proponent of starting over from scratch when something isn’t working. In an ideal scenario, she would finish a draft within a matter of days. However, her real process begins when she is able to hear her work. Once she has a draft of any script, she hires one actor to read through the whole story aloud. She finds her own revision notes for herself to be the most important. Once she knows her goal for a given a script, she likes to get specific feedback from others, but she prefers not to receive general feedback too early, as this risks her becoming alienated from her own work.

Her biggest advice on process is not to decide “this is how I’m going to write a play”, rather let each unique play inform you how best to write it. She also advises aspiring writers not to worry too much about writing the theme. “What you believe will come through in what you write,” she says, in characters, circumstances, etc. If you keep the theme in mind while writing, it doesn’t need to be spelled out for the audience. Overthinking, in general, can be a way for playwrights to shoot themselves in the foot. Instead, when Romero sits down to write, she deliberates tries to not know anything. She accredits her prolificness to being able to trick herself into learning the truth of the play rather than imposing her intellect on the story.

Work 
Romero is an incredibly prolific playwright. She has published over one hundred plays. Given this, it is unsurprising that Romero hasn’t only focused on one topic. Though her plays are often political, her subjects have ranged from the Chicana experience to war. In addition to these passion projects, she has received more commissions than she can count, though not all of these plays have been produced (Romero was interviewed for the book Outrageous Fortune by Todd London, in which she talks about the ratio of plays a theatre company commissions to the plays they produce).

Border Trilogy: Wetback, Mother of Exiles, and Title IX 
Romero, who is of Mexican American descent, has an interest in the Mexico–United States border. She had to go through a border checkpoint on the U.S. side to visit her grandparents in San Diego, California Romero decided to write a trilogy that looks at the Mexican/Arizona border issues. Two plays from the trilogy are Wetback and Mother of Exiles. With the help of a grant from the National Endowment of the Arts, the Arizona Theatre Company was able to commission Romero to write the last play of her trilogy, Title IX, as well as give the playwright the opportunity to lead a project called Voices of a New America. This project focuses on developing and celebrating the voices of Latino writers all over the country.

War Pentalogy: Graveyard of Empires, A Work of Art, Revóluciones/Revolutions, When Reason Sleeps, and Martinez in Taos 
She also has an interest in plays that talk about war. Romero's grandfather fought in the Battle of Iwo Jima and her uncle was lost in the Vietnam War when she was five years old. Romero started the war project by writing ten-minute plays about war, until she realized that she had a lot more to say about the subject. Romero decided to write a pentalogy of war plays, which are Graveyard of Empires, A Work of Art, Revóluciones/Revolutions, When Reason Sleeps, and Martínez in Taos. Graveyard of Empires was produced by the 16th Street Theater and won the American Blues Theater's Blue Ink Playwriting Award. In developing A Work of Art, Romero was a member of the Goodman Playwrights Unit at the Goodman Theatre. In both plays, Romero focuses on how war emotionally traumatizes those who do service for the United States as well as family members. There is no representation of the United States as a nation or information on war combats. Thus, Romero concentrates on the emotional damage caused by war in a non-linear and in some instances, non-realistic way.

Accomplishments 
Romero has participated in the National Hispanic Media Coalition's Television Writer's Program, NBCS's Writers on the Verge Program, and CBS Diversity Institute's Writer's Mentorship Program. She has also received many awards, some of which are the Arizona Commission on the Arts Playwriting Fellowship, TCG/Pew National Theatre Artist in Residence grant, the Los Angeles Film School Scholarship, the Sprenger-Lang New History Play Contest, the Tennessee Williams One-Act Play Award, and the Chicano/Latino Literary Award. In 2021, the Arizona Theatre Company organised a virtual festival to celebrate Romero's work, called RomeroFest. They produced twenty plays, in coordination with several other theatre companies in the US and internationally.

References

External links
 

Living people
Place of birth missing (living people)
Year of birth missing (living people)
People from San Juan Capistrano, California
Writers from Tucson, Arizona
University of Arizona faculty
Hispanic and Latino American dramatists and playwrights
American writers of Mexican descent Maya from Madurai is an Indian play written by Naren Weiss. The play explores the life and death of a drug dealer, and marked the directorial debut of actress Pooja Devariya. It premiered at the 2013 edition of the Short and Sweet Festival in Chennai, India; where it won the Play of the Day award. Three days before script submission, director Devariya called former classmate  Weiss and asked him to write something, describing what she had in mind.  

The play subsequently toured the country as a part of The Park's New Festival in 2013. South Indian theatre troupe Stray Factory took the one act play to six Indian cities, with four other short plays. The original production starred Venkatesh Harinathan, who also translated the play.

Footnotes

Indian plays
2013 plays