A man sits on a bench in front of his old school remembering the place where one particular day changed his life and those of many others dramatically years earlier.

    In the face of enormous personal tumult, he sits down to write. What follows is an audacious chronicle of his childhood and an unsparing account of his life's trials, failures, and triumphs that becomes a moving look at what family gives and takes away.With the intimacy of a diarist, he reckons with the ghosts of his parents and the current specters of his divorce, his children, his career, and his addictions. In unswervingly honest prose, Vilas explores his identity after great loss--what is a person without a marriage or without parents? What is a person when faced with memories alone? Already an acclaimed poet and novelist in Spain, Vilas takes his work to a whole new level with this autobiographical novel; critics have called it "a work of art able to cauterize pain."Elegiac and searching, Ordesa is a meditation on loss and a powerful exploration of a person who is both extraordinary and utterly ordinary--at once singular and representing us all--who transforms a time of crisis into something beautiful and redemptive.

    Also included are fascinating primary sources and background materials, an annotated bibliography, and discussions of the work by leading scholars Robert Louis Jackson, Richard Tempest, and Dariusz Tolczyk. Combining scholarship with accessibility, this critical companion--part of the acclaimed AATSEEL series--illuminates a great work of literature and will enhance its appreciation by students and teachers.

    His sheltered childhood in the home he loves has not prepared Vernon for the harsh reality of his adult years, and in order to write the great masterpiece of his life, he has to make a crucial decision with no time left to count the cost. But there is a high price to be paid for his talent, especially by his family and the two women in his lifee - the one he loves and the one who loves him. Young Nell Vereker had always loved Vernon, loved him with a consuming passion that was alien to the proper social world in which she lived. But when Vernon sought solace in the arms of Jane Harding, a stranger and enigmatically beautiful older woman, Nell felt she could endure no greater pain. But Fate had only begun to work its dark mischief on this curious romantic triangle -- for before their destinies were sealed, one would live, one would die, and one would return from the grave to be damned…

    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.

    "Sharp and funny," The New York Times

     Mina is struggling to come to terms with her past. Having led a reclusive life, shunning human contact, she decides to take on a local college course to help get her life back on track. However, when a young girl who tries to befriend her is abducted by a serial killer, Mina feels responsible. She refused to wait with the girl for her mother to pick her up. And she shrugged off the youngster’s fears. Now Mina cannot rest until she finds out what happened. But as she probes into the events of that evening, her own nightmares start to return. She has put herself in danger, one that leads to an increasingly tense standoff with a cruel and vicious man who will stop at nothing. Can she find the strength to stand up to her demons, past and present? And will she do so, even if it means risking everything?

    But in Aurora Floyd, and in many of the novels written in imitation of it, bigamy is little more than a euphemism, a device to enable the heroine, and vicariously the reader, to enjoy the forbidden sweets of adultery without adulterous intentions.

    Although early criticism of the text polarized around 'that' question - is it literature or pornography? - the influence of American critics such as Lionel Trilling quickly secured canonical status for the novel. A compelling aspect of Lolita criticism is the way in which that question continues to return in different forms. In the 1980s and 1990s, Lolita has been the subject of diverse critical attention, beyond 'Nabokov Studies': from Richard Rorty's philosophical inquiry into the ethics of cruelty, to Rachel Bowlby's feminist analysis of the rhetoric of consumer culture in the novel. All of the main critical approaches to the novel are covered by this indispensable sourcebook.

    This collection includes the revised and updated translations by Paul Roche of the Oedipus cycle, Oedipus the King, Oedipus at Colonus, and Antigone, as well as all-new translations of Ajax, The Women of Trachis, Electra, and Philocetes.

    She is in love with young Artashes Otaryan, son of Elizbarov's late companion. Soon Artashes reveals to her the secret that his family has kept for years -- Elizbarov had stolen the fortune of his former companion; as a proof he presents to her Elizbarov's letters to his father. Margarita is appalled by her father's loss of honor, and is torn between her duty as a daughter and her sense of right and wrong.

    Ricardo Guiraldes, a friend of Jorge Luis Borges - they both founded the legendary magazine Proa - managed to develop a simple and modern language, a high quality mixture of literacy and colourful local camp expressions that earned him a major standing among the best representatives of "criollismo."Even though it may be considered as a continuity with Martin Fierro, more than an extinguished gaucho elegy Don Segundo Sombra proposes new ethical examples to a youth that Guiraldes considered disoriented and restless. Basically structured as lessons to be absorbed departing from inexperience, lessons on labour, amusement, morals, camp chores (horse taming, cattle rodeo, raw hide handy work, animal healing, etc.), they become an example of "lo argentino" supported by a very specific and precise lexikon.Our edition includes more than 300 lexicographic notes, conveniently placed at the bottom of the pages and intended to help the modern reader grasp the exact meaning of the text without obtrusive lengthy interruptions. The notes were made after a careful research work that included the critical Martin Fierro editions by Eleuterio F. Tiscornia, Ed. Losada, Buenos Aires, 1941; by Carlos Alberto Leumann, Ed. Angel de Estrada, Buenos Aires, 1945; and by Santiago M. Lugones, Ed. Centurion, Buenos Aires, 1948; their own notes compared between them and with the critical edition by Elida Lois y Angel Nunez, Ed. ALLCA XX (Association Archives de la Litterature Latinoamericaine, des Caraibes et Africaine du XX Siecle), Paris 2001; with Leopoldo Lugones en El payador, Ed. Centurion, Bs. As. 1948 (and Stockcero 2004); Francisco Castro in Vocabulario y frases del Martin Fierro, Ed. Kraft, Bs. As. 1950, and Domingo Bravo en El Quichua en el Martin Fierro y Don Segundo Sombra, Ed. Instituto Amigos del Libro Argentino, Bs. As. 1968; Horacio J. Becco en don Segundo Sombra y su vocabulario, Ed. Ollantay, Bs. As. 1952; Ramon R. Capdevila 1700 refranes, dichos y modismos (region central bonaerense), Ed. Patria, Bs. As. 1955; Emilio Solanet Pelajes Criollos, Ed. Kraft, Bs. As. 1955; and Tito Saubidet Vocabulario y refranero criollo, Ed. Kraft, Bs. As. 1943"

    Tour.

    John Delaney, the boy next-door, is her best friend, her first love and the one who breaks her heart. Jodi Tyler is raised on Sydney's northern beaches amidst a loving family, but a terrible secret shadows her teenage years. On her eighteenth birthday, the awful burden she has been living with is finally exposed, with tragic consequences. This is a story of two remarkable women, their illustrious careers, their families, their friends, and the men they love. Sarah and Jodi, from opposite ends of the world, have more in common than they'll ever realise - they have their sights set on the same job. For both, it represents how far they've come to triumph over the tragedies of their pasts - but at what cost to their personal lives?

    This is a drama that takes place between words and language itself, in which Hamlet Shakespeare deconstructs his own version of Hamlet. Hamlet here is a mere word, lost in its own and externally imposed meanings that create the action, which starts, continues, and ends in an abstract scene representing life and everything beyond it is reflected in mirrors, green color, and endless dialogues that are not present, but are substituted by incessant speaking or just text and words, which create and undo themselves in the eyes of the reader.