Included is the original shooting script. With over thirty pages of material not used in the final film, along with a sixteen-page color section featuring rare artwork, production drawings, photographs of the cast and crew, and detailed annotations by the screenwriters.

    His dialogue--abrasive, rhythmic--illuminates a modern aesthetic evocative of Samuel Beckett. His plots--surprising, comic, topical--have evoked comparisons to masters from Alfred Hitchcock to Arthur Miller. Here are two screenplays demonstrating the astounding range of Mamet's talents.         The Spanish Prisoner, a neo-noir thriller about a research-and-development cog hoodwinked out of his own brilliant discovery, demonstrates Mamet's incomparable use of character in a dizzying tale of twists and mistaken identity. The Winslow Boy, Mamet's revisitation of Terence Rattigan's  classic 1946 play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. Crackling with wit, intelligent and surprising, The Spanish Prisoner and The Winslow Boy celebrate Mamet's unique genius and our eternal fascination with the extraordinary predicaments of the common man.

    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.

    This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    Back-in-print early work by the author of subUrbia and Sex, Drugs, Rock & Roll.

    It tells the story of Homer Wells, an orphan who is raised and mentored by Wilbur Larch, the doctor at the orphanage. Dr. Larch teaches Homer eveything about medicine. Yet though his capacity for kindness is saintly, Larch is also an ether addict. He and Homer come into conflict, which is typical of many father-son relationships, but in this case, their conflict is intensified by their disagreements about abortion. The result is Homer leaves the only family he has ever known.Homer's new life provides more excitement than he could have imagined, especially when he falls in love for the first time. But, when forced to make decisions that will change the course of his future, Homer finally realizes that he can't escape his past. The Cider House Rules is ultimately about the choices we make and the rules that are meant to be broken.

    Theatre script, playbook

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    politics, privilege, runaway nationalist fantasies, collective guilt, and art as a force for change (or not)...It’s a treat to hear him speak his curious mind.”—O MagazineIn these beautiful essays, Wallace Shawn takes us on a revelatory journey in which the personal and political become one.Whether writing about the genesis of his plays, such as Aunt Dan and Lemon; discussing how the privileged world of arts and letters takes for granted the work of the “unobtrusives,” the people who serve our food and deliver our mail; or describing his upbringing in the sheltered world of Manhattan’s cultural elite, Shawn reveals a unique ability to step back from the appearance of things to explore their deeper social meanings. He grasps contradictions, even when unpleasant, and challenges us to look, as he does, at our own behavior in a more honest light. He also finds the pathos in the political and personal challenges of everyday life.With a sharp wit, remarkable attention to detail, and the same acumen as a writer of prose as he is a playwright, Shawn invites us to look at the world with new eyes, the better to understand—and change it.Praise for Wallace Shawn and Essays: “Lovely, hilarious and seriously thought provoking, I enjoyed it tremendously.”—Toni Morrison“Wallace Shawn writes in a style that is deceptively simple, profoundly thoughtful, fiercely honest. His vocabulary is pungent, his wit delightful, his ideas provocative.”—Howard Zinn, author, A People’s History of the United States“Wally Shawn’s essays are both powerful and riveting. How rare to encounter someone willing to question the assumptions of class and the disparity of wealth that grows wider every year in this country. To have such a gentle and incisive soul willing to say what others may be afraid to is considerably refreshing.”—Michael Moore, film-maker Shawn’s language, his unmistakable, original voice, felicitous, is unadorned, elegant, immediate, true. He’s also a brilliant interviewer, as everyone who’s seen My Dinner With Andre (which is just about everyone) knows. And, of course, he’s very funny.”—Tony Kushner, playwright, Angels in America“Wallace Shawn is a bracing antidote to the op-ed dreariness of political and artistic journalism in the West. He takes you back to the days when intellectuals had the wit and concentration to formulate great questions - and to make the reader want to answer them.”—David Hare, playwrightWallace ShawnWallace Shawn is an Obie Award-winning playwright and a noted stage and screen actor (Star Trek, Gossip Girl, The Princess Bride, Toy Story). His plays The Designated Mourner and Marie and Bruce have recently been produced as films. He is co-author of the movie My Dinner with Andre and author of the plays The Fever, The Designated Mourner, Aunt Dan and Lemon, and Grasses of a Thousand Colours.

    Many have large casts and an equal mix of boy and girl parts. In this dramatization of Barry Hines's novel, 15-year-old Billy trains a kestrel for whom he learns to feel great affection.

    

    Alone in a world of mortals, Lewis Kindred begins to feel the presence of others like himself. Others who hunt. Others who kill. But there's one difference between Kindred and his kin. Kindred will not surrender his last shred of humanity.

    A close correspondent and collaborator with H. P. Lovecraft and Robert E. Howard, Smith was widely celebrated as a master by his contemporaries. Back in print for the first time since 1971, Lost Worlds brings together twenty-three of Smith's classic stories, all of which were originally published in Weird Tales. Rather than center his works on heroes, Smith created fantastical worlds around which he built cycles of stories. Included here are tales from the realms of Averoigne, Zothique, Hyperborea, and others. Told in lush poetic prose, these haunting stories bring to life dark, dreamlike realms full of gothic monsters and mortals. Jeff VanderMeer provides an introduction for this Bison Books edition.

    tasting... submitting.Now she's pregnant with my twins.I have to stay away, but everything is pushing me close.F*ck the money. I won't let my family go.I've already marked Cassie as mine, Now I just need to show her who's really boss.I'd rather lose my company than lose my family.