Students were to arrive in batteries on February 18 1943. After serving from one year (those born in 1926) to thirteen months (those born in 1927), the boys were transferred into the Reich Labor Service and from there into the armed forces. They were replaced by boys born in 1928 who served to the end of the war. About 200,000 boys became Flakhelfer. Most were called up at sixteen, but many, like the author, Karl Heinz Schlesier, were only fifteen. The boys served in batteries of light and heavy flak. Although the government insisted school programs continue for Flakhelfer, the effort was a sham, especially where heavy bombing occurred. Schlesier, a student of Rethel Gymnasium in Dusseldorf, served as Flakhelfer in the regions that suffered the most numerous and heaviest air raids of the war in the Rhineland (Dusseldorf) and the Ruhr (Recklinghausen). His is a coming of age story in a world gone mad, where a teenage boy launched shrapnel into a sky filled with bombers, where Christmas-tree-like flares marked cities about to burn, where working beside Russian POWs, protecting industries with slave labor, courting a girl among bombed-out ruins, and spending leave with family hiding in claustrophobic bomb shelters was unremarkable, as was finally being thrown, unprepared, into a disintegrating frontline only fifty kilometers from his childhood home. The memoir is based solely on Schlesier's diary notes and memories of that period. He has consciously avoided including what he learned after the war. His views, opinions, and interpretations of events are from inside the Germany of that time. If some are inconvenient today, they mirror the chaos of the world he experienced. Then, to live or not to live was accidental. Schlesier wrote this memoir as an old man in response to a granddaughter's question about what he did in the war. This is his answer. Perhaps, he also gives a voice to the silent generation of boys born in Germany in 1926 and 1927. This generation has been silent because the horror it knew pales in comparison to the horror of the Holocaust."

    From the Pulitzer Prize- winning author of Glengarry Glen Ross, here is a collection of thirty-two one-act plays and short dramatic pieces that David Mamet himself considers to be some of the best writing he has ever done.

    Love in the Dark'One of the most exciting, new and absolutely original aspects of Carr's writing is the manner in which the sexism of the language and religious imagery is exposed... Marina Carr is a playwright to be watched.' Sunday TribuneThe Mai'The writing is at once gentle and raucous... capable of articulating deep-seated woes and resentments in a manner you rarely find outside Eugene O'Neill.' ObserverPortia Coughlan'A play of precocious maturity and accomplishment.' Irish Times'Portia Coughlan packs a hell of a punch. It hurts to look at it. But it has to be seen.' Irish IndependentBy the Bog of Cats...'A poetic realism steeped in the past... Carr has an extraordinary ability to move between the mythic and the real.' Guardian'A great play... a great work of poetry... the word should soon carry across both sides of the Atlantic.' Independent

    Zany, thought-provoking, and always original, this anthology brings together all the one-acts from the Off-Broadway hit Mere Mortals and from the all-new Lives of the Saints, as well as several new and uncollected plays, including Bolero, Arabian Nights (which premiered at the celebrated Humana Festival in Louisville), The Green Hill, and Captive Audience.

    A classical muse appears, and the young woman becomes the goddess Athena--a tireless advocate for Odysseus in his struggle to get home. With her trademark irreverent and witty twist on classic works, Zimmerman brings to life the story of Odysseus's ten-year journey, depicting his encounters with characters such as Circe, the Cyclops, Poseidon, Calypso, the Sirens, and others.

    It was only when Max Ophuls made his famous film in 1950 that the work became better known as La Ronde. Now David Hare has reset these circular scenes of love and betrayal in the present day, with a cast of two actors playing a succession of characters whose sexual lives enmesh like a daisy chain. The Blue Room is a meditation on men and women, sex and social class, actors and the theater. With deft insight about the gap between the sexes, The Blue Room takes the treacherous Freudian subject of projection and desire and reinvents it in a bittersweet landscape that is both eternal and completely up-to-date.

    Ann’s clearest memory is performing as Peter Pan in grade school, complete with the distinct elation of feeling she never had to grow up. A lyrical new play about yearning for youth, the pangs of aging, and the enduring bonds of family.

    Commander Elias Browning's military career was over, or so he thought.When a secret research colony is discovered by a ruthless enemy, Elias must take command of a small battlegroup.Outclassed and outgunned, Elias must find a way to stop a superior enemy fleet from enslaving his people, but how can he succeed where every other star union in the galaxy has failed?Acheron Rising is a military science fiction novella that introduces the Federation Chronicles universe by Ken Lozito.

    This play, first staged at the Leicester Haymarket Theatre, is based on a tenth-century Jain myth about a king who finds his queen involved with an elephant-keeper.

    With her mother dead and her father away, she must learn to fight the monsters that have slithered and insinuated their way into her heart and mind. In this wondrous drama Timberlake Wertenbaker explores the beauty and terror inherent in growing up.The Ash Girl premiered at Birmingham Rep in 2001.

    The tables turn when Marjorie is able to subdue Raul and keep him tied up in her fireplace. When Terry and Patricia, Marjorie's roommates, come home, they are shocked and begin discussing how to handle the situation: call the police or take matters into their own hands?

    The Iron Age. The Age of Oil.The Stone Age didn't end for want of stones. What do you do when you know it's going to run out? Oil follows the lives of one woman and her daughter in an epic, hurtling crash of empire, history and family.Ella Hickson's explosive new play drills deep into the world's relationship with this finite resource.Oil premiered at the Almeida Theatre, London, in October 2016.

    There are demons and dragons, magic swords and wizards plus a woodland nymph who will steal your heart, a girl who can fly and some different sorts of knights.

    And there is Oshoosi, fresh out of prison, who always takes the wrong track. When his ex-cell mate Elegba gives him a clapped-out car, true freedom seems just around the corner... The Brothers Size is the European debut of an amazing young writer who plants Nigerian myth in the fertile soil of Louisiana. The play premiered at Drum, Plymouth, in October 2007, before touring and transferring to the Young Vic, London.

    Meanwhile, all's not well on the unassuming Midwestern streets of Bloggs: with local children vanishing at an alarming rate, our hero, his lady friend, and a motley assortment of poets, butchers, and punk librarians prepare to battle the darkness on the edge of town.