And in shaping this old tale, the Writer neither dares, nor desires, to claim for it the dignity or cumber it with the difficulty of an historic novel.

    

    Demeter rules over a perpetual summer on earth, where crops, trees, and flowers grow in abundance. Persephone, young and beautiful, unknowingly attracts the attention of the lonely god of the Underworld, Hades. Hades kidnaps Persephone, and a frantic Demeter searches in vain for her daughter. Finally, Demeter retreats to her temple in mourning. The goddess's sorrow causes the crops to die and the ground to freeze. The first winter falls over Greece. As people begin to starve, the other Olympian gods and goddesses try to convince Demeter to accept a marriage between Persephone and Hades. But Demeter will not give up her daughter forever to the Underworld. Finally a compromise is struck: Persephone will stay with Hades for half a year (winter). When she comes back from the Underworld to spend half a year with her mother, spring returns to earth.

    My name is Little Green, my country Zhong Guo, the Middle Kingdom. When I was ten years old, our leader had died and the revolution ended. And this is how I remember it. When Chun Yu was born in a small city in China, she was born into a country in revolution. The streets were filled with roaming Red Guards, the walls were covered with slogans, and reeducation meetings were held in all workplaces. Every family faced danger and humiliation, even the youngest children. Shortly after Chun's birth, her beloved father was sent to a peasant village in the countryside to be reeducated in the ways of Chairman Mao. Chun and her brother stayed behind with their mother, who taught in a country middle school where Mao's Little Red Book was a part of every child's education. Chun Yu's young life was witness to a country in turmoil, struggle, and revolution -- the only life she knew. This first-person memoir of a child's view of the Chinese Cultural Revolution is a stunning account of a country in crisis and a testimony to the spirit of the individual -- no matter how young or how innocent.

    Adapted by Marty Ross, whose previous audio dramas include Romeo and Jude, Doctor Who, Treasure Island and Arabian Nights: Volume 1, listeners can expect to hear Sinbad the Sailor as they've never done before. In volume 2 of Arabian Nights we return to Sultan Shahriyar’s palace, where Scheherezade is using her spellbinding storytelling abilities to save both her and her sister’s lives. As much as the Sultan wants to kill her, each night he is drawn in by her tales and spares them. Scheherezade weaves a long, winding and exciting tale about Sinbad the Sailor, a reckless young man who has inherited his father’s wealth and spends it foolishly. His debts eventually force him to leave Baghdad and find his way alone. However, his journey quickly takes a turn when he is led to sea by a mysterious woman dressed in blue, which begins his long and dramatic adventures at sea.Starring Abraham Popoola, Adam Sina, Akin Gazi, Alyssa Kyria, Anoushka Rava, Aso Sherabayani, Bamshad Abedi-Amin, Daniel Naddafy, David Ahmad, Firdous Bamji, Gisele Payvandi, Hakan Silahsiz Hemi Yeroham, Ian Abeysekera Jonathan Morrison, Josh Zare Karim Kronfli, Mandana Jones Nezar Alderazi, Raghad Chaar Richard Reed, Sammy Broly, Tara Jaffar and Walles Hamonde.[Please note this drama contains some explicit content.]

    Features 32 lovely illustrations.

    Set in the rural China in which Xiao grew up, these two masterpieces expand on many themes, including the plight of peasants and the role of women in society. With a realistic style that has been said to rival "Tolstoy's sweep, FlaubertÂ�s detachment and Ba JinÂ�s compassion," Xiao gives us an unflinching, surprisingly lyrical, and often wryly humorous account of the difficult lives of these characters. This is an updated and extensively revised new edition.

    350 full-color photos, paintings & illustrations.

    Other great kings and paladins are lost in the dim shadows oflong-past centuries, but Arthur still reigns in Camelot and his knightsstill ride forth to seek the Grail. "No little thing shall be The gentle music of the bygone years, Long past to us with all their hopes and fears."So wrote the poet William Morris in _The Earthly Paradise_. And surelyit is no small debt of gratitude we owe the troubadours and chroniclersand poets who through many centuries have sung of Arthur and hischampions, each adding to the song the gifts of his own imagination, sobuilding from simple folk-tales one of the most magnificent and movingstories in all literature.This debt perhaps we owe in greatest measure to three men; to Chrétiende Troies, a Frenchman, who in the twelfth century put many of the oldArthurian legends into verse; to Sir Thomas Malory, who first wrote outmost of the stories in English prose, and whose book, the _MorteDarthur_, was printed by William Caxton, the first English printer, in1485; and to Alfred, Lord Tennyson, who in his series of poems entitledthe _Idylls of the King_ retold the legends in new and beautiful guisein the nineteenth century.The history of Arthur is so shrouded in the mists of early England thatit is difficult to tell exactly who and what he was. There probably wasan actual Arthur, who lived in the island of Britain in the sixthcentury, but probably he was not a king nor even a prince. It seems mostlikely that he was a chieftain who led his countrymen to victory againstthe invading English about the year 500. So proud were his countrymen ofhis victories that they began to invent imaginary stories of his prowessto add to the fame of their hero, just as among all peoples legends soonspring up about the name of a great leader. As each man told the featsof Arthur he contributed those details that appealed most to his ownfancy and each was apt to think of the hero as a man of his own time,dressing and speaking and living as his own kings and princes did, withthe result that when we come to the twelfth century we find Geoffrey ofMonmouth, in his _History of the Kings of Britain_, describing Arthurno longer as a half-barbarous Briton, wearing rude armor, his arms andlegs bare, but instead as a most Christian king, the flower of mediævalchivalry, decked out in all the gorgeous trappings of a knight of theCrusades.As the story of Arthur grew it attracted to itself popular legends ofall kinds. Its roots were in Britain and the chief threads in its fabricremained British-Celtic. The next most important threads were those thatwere added by the Celtic chroniclers of Ireland. Then stories that werenot Celtic at all were woven into the legend, some from Germanicsources, which the Saxons or the descendants of the Franks may havecontributed, and others that came from the Orient, which may have beenbrought back from the East by men returning from the Crusades. And if itwas the Celts who gave us the most of the material for the stories ofArthur it was the French poets who first wrote out the stories and gavethem enduring form.It was the Frenchman, Chrétien de Troies, who lived at the courts ofChampagne and of Flanders, who put the old legends into verse for thepleasure of the noble lords and ladies that were his patrons. Hecomposed six Arthurian poems. The first, which was written about 1160 orearlier, related the story of Tristram. The next was called _Érec etÉnide_, and told some of the adventures that were later used by Tennysonin his _Geraint and Enid_. The third was _Cligès_, a poem that haslittle to do with the stories of Arthur and his knights as we havethem. Next came the _Conte de la Charrette_, or _Le Chevalier de laCharrette_, which set forth the love of Lancelot and Guinevere. Thenfollowed _Yvain_, or _Le Chevalier au Lion_, and finally came_Perceval_, or _Le Conte du Graal_, which gives the first account of theHoly Grail.

    Beginning amid the decadent glamour of China in the 1930s and ending in the 1980s in Hong Kong, this brilliant novel, which formed the basis for the award-winning movie, is the passionate story of an opera student who falls in love with his best friend, and the beautiful woman who comes between them.

    A highly engaging comedy of intrigue, The Barber of Seville portrays the resourceful Figaro foiling a jealous old man's attempts to keep his beautiful ward from her lover. The Marriage of Figaro — condemned by Louis XVI for its daring satire of nobility and privilege — depicts a master and servant set in opposition by their desire for the same woman. With characteristic lightness of touch, Beaumarchais created an audacious farce of disguise and mistaken identity that balances wit, frivolity and seriousness in equal measure.John Wood's lively translation is accompanied by an introduction discussing the author's turbulent life and multifarious careers, and examines each play in detail. This edition also includes Beaumarchais's notes on the characters and costumes.'He has everything — pleasantry, seriousness, reason, vigour, pathos, eloquence of every kind' VOLTAIRE

    The poem recounts Venus' attempts to woo Adonis, their passionate coupling, and Adonis' rejection of the goddess, to which she responds with jealousy, with tragic results.

    Originally published in 1934 by author Shen Congwen, this beautifully written novel tells the story of Cuicui, a young country girl who is coming of age in rural China in the tumultuous time before the communist revolution.

    At age 25, Ros calls in her chip.Her little brother lands in an hour.And he needs a place to crash.For more than one night.No problem, right?I pick Patrick up at LAX, expecting the same slight and nerdy boy I last saw in high school. He's still a nerd—new IT job—but all grown up and more gorgeous than any best friend's little brother has a right to be.When he walks around my apartment in only a towel, it’s difficult to keep seeing him as only a friend.Ros completely bails on us, so I propose pooling our money into a two-bedroom and officially becoming roommates. He’s polite, sweet, clean, and cooks.What could go wrong?I could fall in love with him. This story is intended for readers over the age of 18 due to adult language, sexual content, and adult situations.

    A collection of fifteen blue-collar stories, period and contemporary—1866 through the present.