Intelligent, well-educated, perfectly isolated in his lofty rank, responsibilities, and privilege of the divine Imperial Dynasty. He's the most powerful boy on Atlantis and he's going into the real world for the very first time. . . .Now just another student in Fleet Cadet School, Aeson must learn everything normal people take for granted—including the basics of how to look after himself, how to interact with others his age, how to laugh, and how to make friends.As if that wasn't enough to boggle the mind of a confident but shy boy who's never had a real conversation with anyone but his mother, Aeson has one more lesson ahead . . . what it's like to fall in love.Get inside Aeson's mind and learn his story from the inside out as he forms the bonds that will change him forever—with Elikara, Xelio, Oalla, Keruvat, Erita, and other favorite Atlantean characters, long before they took to the stars as astra daimon! AESON: BLUE is the first in The Atlantis Grail Novella Series.

    Artemis Fowl, the main character, is a ruthless and extremely intelligent young (human) criminal whose main goal is the acquisition of money through a variety of often illegal schemes. There are many settings in the series, including Siberia, Chicago, Taiwan, Morocco, France and various places in Ireland. One main setting that has been in all the books is the Lower Elements. The author has described the series as "Die Hard with fairies." There are six novels in the series so far; the first was published in 2001 and the sixth released in the United States on 15 July 2008. A film based on the series is also in development, although most details are unclear. The series has sold over 18 million copies as of June 2008.

    It makes you wonder what is REALLY out there?" -- Reader, Beverly (on Campfire 4) *Each of the first four books in the Campfire series has reached #1 Best Seller status on the Kindle Supernatural rankings on Amazon. FREE Audio Download with Purchase On this special audio Campfire, Jim replays his 5 favorite stories as told by the actual experiencers! Get the exclusive link with your purchase of True Ghost Stories: Campfire 5!

    

    I realized I could distinguish between my inner self and my physical body... An ice-cold surface covered my inner heat.- In this short story a man relates his inner-most thoughts and reflections as he suffers a heart attack on the on the street and is then brought back to life after three and a half minutes. It is a compelling tale of something appalling and yet completely ordinary, of pain and fear and acceptance, whilst walking the thin dividing line between life and death. In contrast to the speed of this near-death experience, the book includes a series of photographs in which the passage of time is hardly apparent. Over the course of a year the author photographed a wild pear tree in his garden at different times of the day and year, recording its changes under the differing light conditions. My Own Death contrasts perceptions of the here and now with the hereafter, and its complex composition alludes to mortal time and passage.

    Back-in-print early work by the author of subUrbia and Sex, Drugs, Rock & Roll.

    Meanwhile, all's not well on the unassuming Midwestern streets of Bloggs: with local children vanishing at an alarming rate, our hero, his lady friend, and a motley assortment of poets, butchers, and punk librarians prepare to battle the darkness on the edge of town.

    The author based this play on G.B. Shaw’s famous English play Pygmalion. This is a popular play that earned positive reviews from the critics as well.

    His A Life in the Theatre takes us into the lives of two actors: one young and rising into the first full flush of his success; the other older, anxious and beginning to wane. In a series of short, spare, and increasingly raw exchanges, we see the estrangement of youth from age and the wider, inevitable, endlessly cyclical rhythm of the world.

    As Michael Smith describes: "Brother Jero is a self-styled 'prophet,' an evangelical con man who ministers to the gullible and struts with self-importance over their dependence on him. The play follows him through a typical day: He acts as kind of tourist guide, displaying himself to the audience, explaining, demonstrating how he manages to live by his wits. He is pursued and cursed by his aged mentor, whose territory he has taken over. He is besieged by a woman creditor who turns out to be the tyrannical wife of his chief disciple. He converts a pompous, painfully timid Member of Parliament with prophecies of a ministerial post. And all day he tries to resist the endless temptation of beautiful women, the play is delightfully picturesque and entertaining." (8 men, 6 women.) THE STRONG BREED. As outlined by Michael Smith: "The play refers to a folk tradition by which one person becomes the 'carrier' of community evil and symbolically purifies the village in an annual ritual. The hero is Eman, a stranger who has come to this particular village to act as teacher and share his education. 'Those who have much to give,' he says, 'must do so in total loneliness.' On the night of the purification ceremony he learns that Ifada, a helpless idiot boy whom he has befriended, has been selected as 'carrier' and victim; and he is driven by compassion to take Ifada's part in the ritual. The crisis brings back memories. We learn that Eman's father was a 'carrier' and that Eman has fled the family tradition of symbolic sacrifice. We also learn of Omae, the young Eman's betrothed, whom he left for many years to pursue his personal destiny and who died soon after his return.Now Eman accepts his past and discovers, 'I am very much my father's son'-one of 'the strong breed' who must take these responsibilities upon themselves-and at the end of the play is caught in a trap at the sacred trees and killed." (12 men, 5 women.)"

    Designed to provide insight and an overview about each text for students and teachers, these guides endeavor to develop knowledge and understanding rather than just provide answers and summaries.

    

    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.

    Love never dies. Here is the sequel to the The Crow written by Jay O'Barr. The motion picture starred the late Brandon Lee, who died during the filming of the movie. This electrifying new motion picture from Miramax/Dimensions Films premieres this summer.

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.