Clarke of Last and First Men. This masterpiece of science fiction by British philosopher and writer Olaf Stapledon (1886–1950) is an imaginative, ambitious history of humanity's future that spans billions of years. Together with its follow-up, Star Maker, it is regarded as the standard by which all earlier and later future histories are measured.The protagonist of this compelling novel is humanity itself, stripped down to sheer intelligence. It evolves through the ages: rising to pinnacles of civilization, teetering on the brink of extinction, surviving onslaughts from other planets and a decline in solar energy, and constantly developing new forms, new senses, and new intellectual abilities. From the present to five billion years into the future, this romance of humanity abounds in profound and imaginative thought.

    D. James's trademark suspense, insightful characterization, and riveting storytelling, The Children of Men is a story of a world with no children and no future. The human race has become infertile, and the last generation to be born is now adult. Civilization itself is crumbling as suicide and despair become commonplace. Oxford historian Theodore Faron, apathetic toward a future without a future, spends most of his time reminiscing. Then he is approached by Julian, a bright, attractive woman who wants him to help get her an audience with his cousin, the powerful Warden of England. She and her band of unlikely revolutionaries may just awaken his desire to live . . . and they may also hold the key to survival for the human race.

    Largely set in a futuristic World State, inhabited by genetically modified citizens and an intelligence-based social hierarchy, the novel anticipates huge scientific advancements in reproductive technology, sleep-learning, psychological manipulation and classical conditioning that are combined to make a dystopian society which is challenged by only a single individual: the story's protagonist.

    A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

    Here men from all walks of life don the garb of their fantasies and act them out: a man from the gas company wears the robe and mitre of a bishop; another customer becomes a flagellant judge, and still another a victorious general, while a bank clerk defiles the Virgin mary. These costumed diversions take place while outside a revolution rages on which has isolated the brothel from the rest of the rebel-controlled city. In a stunning series of macabre, climactic scenes, Genet presents his caustic view of man and society.

    

    In the characters and their circumstances details of Joyce's life are evident. The main character, Richard Rowan, the moody, tormented writer who is at odds with both his wife and the parochial Irish society around him, is clearly a portrait of Joyce himself. The character of Rowan's wife, Bertha, is certainly influenced by Joyce's lover and later wife, Nora Barnacle, with whom he left Ireland and lived a seminomadic existence in Zurich, Rome, Trieste, and Paris. As in real life, the play depicts the couple with a young son and, like Joyce, Rowan has returned to Ireland because of his mother's illness and subsequent death.One can also detect hints of Joyce's interest in Nietzsche in Rowan's flawed pursuit of total individual freedom despite the stifling morals of Irish society. Though wrestling with guilt over his own infidelities, Rowan insists on this personal liberty, not only for himself but for his wife as well, who he knows is tempted by his cousin's amorous overtures.Joyce's decision to express himself in the form of a play no doubt reflects his long admiration of the Norwegian playwright Henrik Ibsen. In the tense dialogue, the largely interior drama focused on the characters' relationships, the undertones of guilt, and the longing for freedom one sees similarities with Ibsen's themes. Also the spare, understated writing style - so unlike Joyce's exuberant, playful, and experimental use of language in his novels - shows the influence of Ibsen's "naked drama" (as Joyce described Ibsen's style in a published review). Above all, Joyce emulated the Scandinavian master in making the central issue of his drama the conflict between individual freedom and a demanding, judgmental society. In Exiles the protagonists struggle with the choice between living in defiance of the rigid conventions of Irish society or exile from their homeland.Though lesser-known, Exiles, written after Portrait of the Artist as a Young Man and while Joyce was working on Ulysses, provides interesting insights into the development of the creative gifts of a literary genius.

    The devil will do all he asks on Earth and seeks to grant him a moment in life so glorious that he will wish it to last forever. But if Faust does bid the moment stay, he falls to Mephisto and must serve him after death. In this first part of Goethe’s great work, the embittered thinker and Mephistopheles enter into their agreement, and soon Faust is living a rejuvenated life and winning the love of the beautiful Gretchen. But in this compelling tragedy of arrogance, unfulfilled desire, and self-delusion, Faust heads inexorably toward an infernal destruction.The best translation of Faust available, this volume provides the original German text and its English counterpart on facing pages. Walter Kaufmann's translation conveys the poetic beauty and rhythm as well as the complex depth of Goethe's language. Includes Part One and selections from Part Two.

    

    Thyestes depicts the menace of an ancestral curse hanging over two feuding brothers, while Phaedra portrays a woman tormented by fatal passion for her stepson. In The Trojan Women, the widowed Hecuba and Andromache await their fates at the hands of the conquering Greeks, and Oedipus follows the downfall of the royal House of Thebes. Octavia is a grim commentary on Nero's tyrannical rule and the execution of his wife, with Seneca himself appearing as an ineffective counsellor attempting to curb the atrocities of the emperor.

    The Cyclops, translated and with an introduction by William Arrowsmith2. Heracles, translated and with an introduction by William Arrowsmith3. Iphigenia in Tauris, translated by Witter Bynner and with an introduction by Richmond Lattimore4. Helen, translated and with an introduction by William ArrowsmithIn nine paperback volumes, the Grene and Lattimore editions offer the most comprehensive selection of the Greek tragedies available in English. Over the years these authoritative, critically acclaimed editions have been the preferred choice of over three million readers for personal libraries and individual study as well as for classroom use.

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    Lovecraft’s dark vision with his own revolutionary philosophy and unique narrative powers to produce a stunning, high-tension story of vaulting imagination. A professor makes a horrifying discovery while excavating a sinister archeological site. For over 200 years, mind parasites have been lurking in the deepest layers of human consciousness, feeding on human life force and steadily gaining a foothold on the planet. Now they threaten humanity’s extinction. They can be fought with one weapon only: the mind, pushed to—and beyond—its limits. Pushed so far that humans can read each other’s thoughts, that the moon can be shifted from its orbit by thought alone. Pushed so that man can at last join battle with the loathsome parasites on equal terms.

    It became his first major success, and a hallmark of Russian social realism. The play depicts a group of impoverished Russians living in a shelter near the Volga.When it first appeared, The Lower Depths was criticized for its pessimism and ambiguous ethical message. The presentation of the lower classes was viewed as overly dark and unredemptive, and Gorky was clearly more interested in creating memorable characters than in advancing a formal plot. However, in this respect, the play is generally regarded as a masterwork.The theme of harsh truth versus the comforting lie pervades the play from start to finish, as most of the characters choose to deceive themselves over the bleak reality of their condition.

    Set in the towers and tunnels of the quintessential American city, Alain Robbe-Grillet's novel turns this urban space into a maze where politics bleeds into perversion, revolution into sadism, activist into criminal, vice into art—and back again. Following the logic of a movie half-glimpsed through a haze of drugs and alcohol, Project for a Revolution in New York is a Sadean reverie that bears an alarming resemblance to the New York, and the United States, that have actually come into being.