In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

    She has everything she wants: a successful career, the ability to make sure she is as far away from her parents as possible, and an almost equally successful boyfriend. One phone call from a dear friend brings her back to the States, to her old neighborhood where she comes face to face with her childhood crush, Christopher Hunter. And one look into his eyes brings back all the memories and feelings she thought she had long forgotten. Feelings she shouldn’t have.

    With this volume, the holy trinity of fairy tales - the Brothers Grimm, Charles Perrault, and Hans Christian Andersen - becomes a quartet. In the 1850s, Franz Xaver von Schönwerth traversed the forests, lowlands, and mountains of northern Bavaria to record fairy tales, gaining the admiration of even the Brothers Grimm. Most of Schönwerth's work was lost - until a few years ago, when thirty boxes of manu­scripts were uncovered in a German municipal archive.Now, for the first time, Schönwerth's lost fairy tales are available in English. Violent, dark, and full of action, and upending the relationship between damsels in distress and their dragon-slaying heroes, these more than seventy stories bring us closer than ever to the unadorned oral tradition in which fairy tales are rooted, revolutionizing our understanding of a hallowed genre.

    Unlike most historical narratives from China, which are pegged to political events, Change is a representative of “people’s history,” a bottom-up rather than top-down view of a country in flux. By moving back and forth in time and focusing on small events and everyday people, Mo Yan breathes life into history by describing the effects of larger-than-life events on the average citizen.“Through a mixture of fantasy and reality, historical and social perspectives, Mo Yan has created a world reminiscent in its complexity of those in the writings of William Faulkner and Gabriel García Márquez, at the same time finding a departure point in old Chinese literature and in oral tradition.”— Nobel Committee for Literature “If China has a Kafka, it may be Mo Yan. Like Kafka, Yan has the ability to examine his society through a variety of lenses, creating fanciful, Metamorphosis-like transformations or evoking the numbing bureaucracy and casual cruelty of modern governments.” —Publishers Weekly, on Shifu: You'll Do Anything for a Laugh

    In this highly successful attempt to render Malory into Modern English, Steinbeck recreated the rhythm and tone of the original Middle English.

    Before she passed, she fed her daughter the Unfeeling Pill, ordered her subordinates to keep the girl’s birth story a secret and to imprison her within Shui Jing for ten thousand years. The girl’s name is Jin Mi.Four thousand years later, the Heavenly Emperor’s second son, the Phoenix Fire Deity was entrapped by someone and mistakenly entered Shui Jing. He was saved by the ignorant Jin Mi. After living together for a hundred years, the Fire Deity gradually developed feelings for Jin Mi. Who would have thought that he would be attracted to Jin Mi?In between the Heavenly World and the Devil World, there is an immeasurably deep River of Forgetfulness, where the war between the Fire Deity and Night Deity finally erupts.

    A representative of the Fa-chia, or Legalist, school of philosophy, he produced the final and most readable exposition of its theories. Ironically, Han Fei Tzu's advice was heeded not by the king of Han but by the king of Ch'in, who, soon after ascending the throne in 246 B.C., conquered all of China and, as First Emperor of the Ch'in, established the Ch'in dynasty. Han Fei Tzu, sent as an envoy to Ch'in in 234 B.C., was at first welcomed by the king but later, on a royal minister's urging, was cast into prison, where he committed suicide. Han Fei Tzu's handbook for the ruler, which includes a few chapters for the guidance of his ministers, deals with the problem of preserving and strengthening the state. There are sections on the way of the ruler, on standards, on the use of power and of punishment and favor. Dangers to be avoided by the ruler are specified, as are precautions to be taken. Witty, trenchant, sophisticated, and cynical, the Han Fei Tzu has been read in every age. It retains its interest today when, perhaps more than ever before, men are concerned with the nature and use of power.

    Manners and morality are also victims of Wilde's sharp wit in Lady Windermere's Fan, A Woman of No Importance and An Ideal Husband, in which snobbery and hypocrisy are laid bare. In Salomé and A Florentine Tragedy, Wilde makes powerful use of historical settings to explore the complex relationship between sex and power. The range of these plays displays Wilde's delight in artifice, masks and disguises, and reveals the pretentions of the social world in which he himself played such a dazzling and precarious part.Richard Allen Cave's introduction and notes discuss the themes of the plays and Wilde's innovative methods of staging. This edition includes the excised 'Gribsby' scene from The Importance of Being Earnest.

    In this story of a water-spirit who married a mortal and gained a human soul there is a delicate fineness of craftsmanship which makes it notable in any department of literature and an easy naturalness which places it close to the genuine folk-myth." -- H.P. Lovecraft, "Supernatural Horror In Literature"

    Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: A Very Old Man With Enormous Wings, the Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother, the Handsomest Drowned Man in the World, Big Mama's Funeral. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: "A Very Old Man with Enormous Wings" (Spanish: ) is a fictional short story by author Gabriel Garcia Marquez written in 1968. It falls within the genre of magic realism, and is one of the short stories included in the book Leaf Storm. "A Very Old Man with Enormous Wings" begins with a husband and wife, Pelayo and Elisenda, who find a very old man in their courtyard one stormy afternoon. Amazed, they gaze at the enormous wings attached to the body of the old man as he struggles to get up from the mud. The couple attempts to communicate with the old man, but are unable to because he speaks a different language (which is never identified.) A neighbor comes by and lets them know that the old man is an angel who has come to take their sick child. Unsure of what to do, Pelayo decides to lock the angel in a chicken coop overnight. Early the next morning the local priest, Father Gonzaga, comes to the home, followed by the rest of the community, to test the old man and determine whether or not he truly is an angel. Ultimately, Father Gonzaga finds many reasons why the man cannot be an angel, such as the fact that the old man cannot understand Latin, and also because he has too many mortal characteristics. Elisenda, tired of having so many people at her house, decides to charge an entrance fee to see the angel. The family becomes rich and builds a mansion with the money they have collected. The crowd soon loses interest in the angel because another freak has risen to fame. The new attraction is a woman who disobeyed her...More: http: //booksllc.net/?id=738814

    First introduced into the West in 1704, the stories of The Thousand and One Nights are most familiar to American readers in sanitized children's versions. This modern edition, based on Richard F. Burton's unexpurgated translation, restores the lushness of the original Arabic. Here are the famous adventures of Sinbad, "Ali Baba and the Forty Thieves," and "Aladdin and the Magic Lamp." Here too are less familiar stories, such as "Prince Behram and the Princess Al-Datma," a delightful early version of The Taming of the Shrew, and "The Wily Dalilah and her Daughter Zaynab," a hilarious tale about two crafty women who put an entire city of men in their place. Intricate and imaginative, these stories-within-stories told over a thousand and one nights continue to captivate readers as they have for centuries. "Arabian Nights: The Marvels and Wonders of The Thousand and One Nights, Volume 2 of 2, Adapted By Jack Zipes"

    In its journey across worlds and time, it delves into the powerful forces that drive mortals and gods alike toward revenge, loyalty—and love.

    R. James is best remembered for his ghost stories which are widely regarded as among the finest in English literature. One of James' most important achievements was to redefine the ghost story for the new century by dispensing with many of the formal gothic trappings of his predecessors, and replacing them with more realistic contemporary settings.According to James, a story must "put the reader into the position of saying to himself: 'If I'm not careful, something of this kind may happen to me!'"

    Tarkington's writings are very much set in his early 1900s American culture. We are meant to sympathize with the crippled child but not even notice the slights to the black servants. Still, Tarkington promotes kindness and uses a milder style of humor than many authors of his day. (Arnold Banner)

            The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.