Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition.Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

     YOU GET THREE MASSIVE BEST-SELLING MYSTERIES IN THIS BOX SET These are books 1-3 of the Hillary Greene series. BOOK 1: MURDER ON THE OXFORD CANAL DI Hillary Greene is a policewoman fighting to save her career. Not only has she lost her husband, but his actions have put her under investigation for corruption. Then a bashed and broken body is found floating in the Oxford Canal. It looks like the victim fell off a boat, but Hillary is not so sure. Her investigation exposes a dark background to the death. Can Hillary clear her name and get to the bottom of a fiendish conspiracy on the water? BOOK 2: MURDER AT THE UNIVERSITY A pretty French student is found dead in her room at an exclusive Oxford college. Everyone thinks it is another tragic case of accidental drug overdose. But Detective Hillary Greene has a nose for the truth. She quickly discovers that the student was involved in some very unusual activities. With a shocking cause of death found, the case becomes a high-profile murder investigation. BOOK 3: MURDER OF THE BRIDE DI Hillary Greene is called out to attend a suspicious death at Three Oaks Farm in the picturesque village of Steeple Barton. The large farmhouse is filled with music and revellers, but when she steps into the farm’s large cowshed, Hillary finds a dead bride. Dressed in a sumptuous white wedding gown, the young, beautiful redhead had clearly been strangled. But not everything is what it seems, and the victim turns out to be at the centre of a web of jealousy and intrigue in the close-knit village. Many of the villagers have a motive for murdering her but they’re not giving up their secrets easily. Perfect for fans of Agatha Christie, LJ Ross, Betty Rowlands, Colin Dexter, or Ruth Rendell. What readers are saying about FAITH MARTIN “A great story and a great read. Likeable and interesting characters and I hope to read more about DI Hillary Greene and her team.” Nerys Roberts “This book is a real page turner and I cannot wait for the next book in the series.” Barbara “Drew me in from first pages, an excellent mystery.” Rhonda “DI Hillary Greene is a force to be reckoned with.” Ray George “I like Hillary and her team and love the Oxford setting.” Hannelore “I’ve got to say, Faith Martin is becoming one of my favourite authors. . . Move over Inspector Morse, make way for D.I. Greene.” Carole DISCOVER ONE OF THE WORLD’S FAVOURITE DETECTIVES DI HILLARY GREENE SERIES BOOK 1: MURDER ON THE OXFORD CANAL BOOK 2: MURDER AT THE UNIVERSITY BOOK 3: MURDER OF THE BRIDE BOOK 4: MURDER IN THE VILLAGE BOOK 5: MURDER IN THE FAMILY BOOK 6: MURDER AT HOME BOOK 7: MURDER IN THE MEADOW BOOK 8: MURDER IN THE MANSION BOOK 9: MURDER IN THE GARDEN BOOK 10: MURDER BY FIRE BOOK 11: MURDER AT WORK BOOK 12: MURDER NEVER RETIRES BOOK 13: MURDER OF A LOVER BOOK 14: MURDER NEVER MISSES BOOK 15: MURDER AT MIDNIGHT BOOK 16: MURDER IN MIND

    Her easy-to-prepare adaptations shatter the myth that the Bard's primary fare was boiled mutton. In fact, Shakespeare and his contemporaries dined on salads of fresh herbs and vegetables; fish, fowl, and meats of all kinds; and delicate broths. Dried Plums with Wine and Ginger-Zest Crostini, Winter Salad with Raisin and Caper Vinaigrette, and Lobster with Pistachio Stuffing and Seville Orange Butter are just a few of the delicious, aromatic, and gorgeous dishes that will surprise and delight. Segan's delicate and careful renditions of these recipes have been thoroughly tested to ensure no-fail, standout results. The tantalizing Renaissance recipes in Shakespeare's Kitchen are enhanced with food-related quotes from the Bard, delightful morsels of culinary history, interesting facts on the customs and social etiquette of Shakespeare's time, and the texts of the original recipes, complete with antiquated spellings and eccentric directions. Fifty color images by award-winning food photographer Tim Turner span the centuries with both old-world and contemporary treatments. Patrick O'Connell provides an enticing Foreword to this edible history from which food lovers and Shakespeare enthusiasts alike will derive nourishment. Want something new for dinner? Try something four hundred years old.

    Wodehouse's letters, edited with a commentary by Oxford academic Sophie Ratcliffe. One of the funniest and most admired writers of the twentieth century, P. G. Wodehouse always shied away from the idea of a biography. A quiet, retiring man, he expressed himself through the written word. His letters - collected and expertly edited here - provide an illuminating biographical accompaniment to legendary comic creations such as Jeeves, Bertie Wooster, Psmith and the Empress of Blandings.Drawing on hitherto unpublished sources, these letters give an unrivalled insight into Wodehouse, covering his schooldays at Dulwich College, the family's financial reverses which saw his hopes of university dashed, life in New York working in musical comedy with Jerome Kern and George and Ira Gershwin, the years of fame as a novelist, and the unhappy episode in 1940 where he was interned by the Germans and later erroneously accused of broadcasting pro-Nazi propaganda. It is a book every lover of Wodehouse will want to possess.

     A pretty young heiress finds her quick temper may have landed her in a world of trouble… 1796, London At twenty-seven, the Honourable Hugh Eversley is still a bachelor, and eagerly pursued by every match-making mama who ever brought a daughter up to London for the season. But Hugh ‘Beau’ Eversley is a notorious rake and every effort to catch his attention so far has been wasted. That is why Susan Fyfield’s family are shocked when she announces she is engaged to him. They aren’t the only ones stunned by the news. The Beau himself isn’t aware he has made a proposal… THE CLANDESTINE BETROTHAL is the first book in The Eversley Saga: Traditional British, pre Regency romance novels with outspoken, feisty heroines set in Georgian England. ‘a nice, sweet romance with an honorable hero and heroine’ - dearauthor.com ‘a terrific Regency romance novel’ - bookworm2bookworm ‘a wonderful mix of Jane Austen-style Regency romance and the more modern Regency romances of today’ - Sonya’s Stuff ‘a light hearted Regency romance in the best tradition of the genre’ - Jillysheep 'A little mystery is provided … pleasantly told with flashes of humor, and I enjoyed it' - Regency Retro Reads THE EVERSLEY SAGA SERIES BOOK ONE: The Clandestine Betrothal BOOK TWO: The Toast of the Town BOOK THREE: A Season at Brighton

    It was a time of uncertainty and incessant warfare, a time during which the crown was constantly contested, alliances were made and broken, and peasants and townsmen alike arose in revolt. This was the raw material of Shakespeare's dramas, and Norwich holds up his work to the light of history to ask: Who was the real Falstaff? How accurate a historian was the playwright? Shakespeare's Kings is a marvelous study of the Bard's method of spinning history into art, and a captivating portrait of the Middle Ages.

    Bradley put Shakespeare on the map for generations of readers and students for whom the plays might not otherwise have become 'real' at all" writes John Bayley in his foreword to this edition of Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth.Approaching the tragedies as drama, wondering about their characters as he might have wondered about people in novels or in life, Bradley is one of the most liberating in the line of distinguished Shakespeare critics. His acute yet undogmatic and almost conversational critical method has—despite fluctuations in fashion—remained enduringly popular and influential. For, as John Bayley observes, these lectures give us a true and exhilarating sense of "the tragedies joining up with life, with all our lives; leading us into a perspective of possibilities that stretch forward and back in time, and in our total awareness of things."

    His unforgettable physical beauty, his soft-spoken manner, his tough but tender roughness, and his aching vulnerability had women swooning and men wanting to be just like him. Today—nearly thirty years after he lost his battle against cancer at the age of fifty—McQueen remains “The King of Cool.” Yet, few know the truth of what bubbled beneath his composed exterior and shaped his career, his passions, and his private life.              Now, in Steve McQueen, New York Times bestselling author, acclaimed biographer, and film historian, Marc Eliot captures the complexity of this Hollywood screen legend. Chronicling McQueen’s tumultuous life both on and off the screen, from his hardscrabble childhood to his rise to Hollywood superstar status, to his struggles with alcohol and drugs and his fervor for racing fast cars and motorcycles, Eliot discloses intimate details of McQueen’s three marriages, including his tumultuous relationships with Neile Adams and Ali MacGraw, as well as his numerous affairs. He also paints a full portrait of this incredible yet often perplexing career that ranged from great films to embarrassing misfires. Steve McQueen, adored by millions, was obsessed by Paul Newman, and it is the nature of that obsession that reveals so much about who McQueen really was. Perhaps his greatest talent was to be able to convince audiences that he was who he really wasn’t, even as he tried to prove to himself that he wasn’t who he really was.            With original material, rare photos, and new interviews, Eliot presents a fascinating and complete picture of McQueen’s life.From the Hardcover edition.

    With formal invention and a wild personae, ZIRCONIA compels one to follow gem-strewn trails of feminine intuition, savagery, ennui, fantasy, and intimacy to their diabolically fruitful conclusions.

    He interviewed her closest friends and colleagues as well as some of her many lovers. But Wilson also traces Highsmith's literary roots in the work of Poe, noir, and existentialism, locating the influences that helped distinguish Highsmith's writing so startlingly from more ordinary thrillers. The result is both a serious critical biography and one that reveals much about a brilliant and contradictory woman, one who despite her acclaim and affairs always maintained her solitude.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Told with disarming honesty, the book propels the reader into the mind of an addict and shows us the depths of degradation one man sunk to before finding the inner strength to save himself.Terry Donaldson met with success early in life but his struggle with addiction soon became an all-out war. His Jekyll and Hyde lifestyle – TV presenter by day, whilst he scoured the streets of London in search of drugs and prostitutes by night – caused him to lose everything.Facing financial ruin, he agreed to smuggle drugs from Barbados, but was caught and sent to one of the world’s worst prisons, where he remained for over 3 years. Honest and disturbing, Hell in Barbados is the true story of how Donaldson witnessed stabbings, beatings, shootings and a full scale riot as the prison went up in flames.
In this extraordinary book, he describes the true horror of prison life in the Caribbean, the depravity that brought him there, and the years of brutality he was forced to endure.

    Whether celebrated for her realism, proto-feminism, or patrician gentility, imagined as a subversive or a political conservative, Austen generates passions shaped by the ideologies and trends of her readers' time--and by her own memorable stories, characters, and elusive narrative cool.In this book, Rachel M. Brownstein considers constructions of Jane Austen as a heroine, moralist, satirist, romantic, woman, and author and the changing notions of these categories. She finds echoes of Austen's insights and techniques in contemporary Jane-o-mania, the commercially driven, erotically charged popular vogue that aims paradoxically to preserve and liberate, to correct and collaborate with old Jane. Brownstein's brilliant discussion of the distinctiveness and distinction of Austen's genius clarifies the reasons why we read the novelist-or why we should read her-and reorients the prevailing view of her work. Reclaiming the rich comedy of Austen while constructing a new narrative of authorship, Brownstein unpacks the author's fascinating entanglement with readers and other admirers.

    . . It’s an eye-opener. Anecdotal without being tawdry, analytical without being academic, it captures the essence of Faulkner’s life with the narrative drive of a novel.” — Houston Chronicle“A splendid life of William Faulkner . . . Not only readable but downright enthralling.” — Seattle TimesWilliam Faulkner was a literary genius, and one of America's most important and influential writers. Drawing on previously unavailable sources--including letters, memoirs, and interviews with Faulkner's daughter and lovers--Jay Parini has crafted a biography that delves into the mystery of this gifted and troubled writer. His Faulkner is an extremely talented, obsessive artist plagued by alcoholism and a bad marriage who somehow transcends his limitations. Parini weaves the tragedies and triumphs of Faulkner's life in with his novels, serving up a biography that's as engaging as it is insightful.

    From Leibniz's belief that the I Ching illustrated the principles of calculus to Marco Polo's mistaking a rhinoceros for a unicorn, Umberto Eco offers a dazzling tour of intellectual history, illuminating the ways in which we project the familiar onto the strange to make sense of the world. Uncovering layers of mistakes that have shaped human history, Eco offers with wit and clarity such instances as Columbus's voyage to the New World, the fictions that grew around the Rosicrucians and Knights Templar, and the linguistic endeavors to recreate the language of Babel, to show how serendipities can evolve out of mistakes. With erudition, anecdotes, and scholarly rigor, this new collection of essays is sure to entertain and enlighten any reader with a passion for the curious history of languages and ideas.