Designed to provide insight and an overview about each text for students and teachers, these guides endeavor to develop knowledge and understanding rather than just provide answers and summaries.

    This is the thrilling untold story of the young helicopter pilots -- most barely out of their teens -- who risked their lives during this brief but ferocious war. In April 1982 Harry Benson was a 21 year-old Royal Navy commando helicopter pilot, fresh out of training and one of the youngest helicopter pilots to serve in the Falklands War. These pilots, nicknamed 'junglies', flew most of the land-based missions in the Falklands in their Sea King and Wessex helicopters. Much of what happened in the war -- the politics, task force ships, Sea Harriers, landings, Paras and Marines -- is well-known and documented. But almost nothing is known of the young commando helicopter pilots and aircrewmen who made it all happen on land and sea. This is their 'Boys Own' story, told for the very first time. Harry Benson has interviewed forty of his former colleagues for the book creating a tale of skill, initiative, resourcefulness, humour, luck, and adventure. This is a fast-paced, meticulously researched and compelling account written by someone who was there, in the cockpit of a Wessex helicopter.  None of these pilots has spoken before about: - The two helicopter crashes and eventual rescue following a failed SAS mission high up on an in hospitable glacier in South Georgia - The harrowing story of the Exocet strike that sunk the transport ship Atlantic Conveyor - The daring missile raid on the Argentine high command in Port Stanley - The constant mortar fire faced while supporting troops and evacuating casualties - The hair-raising head-on attacks by Argentine jets on British helicopters - The extraordinary courage shown during the evacuation of the bombed landing ship 'Sir Galahad'  If you liked Apache, Vulcan 607 and Chickenhawk, you'll love Scram!  The word "Scram" was coined by Falklands helicopter pilots to warn other 'junglies' to go to ground or risk being shot down as Argentinean jets blasted through 'bomb alley'. The term has never been used before or since.

    With Steffy, his sometime paramour, at his side, Herb decides to take another stab at fatherhood and hopefully this time, get it right.

    It won the 1995 Evening Standard Award for Best Comedy and, the Writers' Guild for Best West End Play."An exceptionally accomplished first play . . . though I know nothing about poker, I testify to the compulsive grip this play exerts and to the accumulation of meanings it ignites in your head."—Financial Times"Patrick Marber's enthralling close-up of the demons which drive compulsive gamblers is among the finest new plays in many a year."—Daily Mail

    He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

    Scenery: A bare stageThe six teenage characters communicate only via the internet. Conversations range in subject from Britney Spears to Willy Wonka to - suicide: Jim is depressed and talks of ending his life and Eva and William decide to do their utmost to persuade him to carry out his threat. From this chilling premise is forged a funny, compelling and uplifting play that tackles the issues of teenage life head-on and with great understanding.

    George Orwell's prophetic, nightmarish vision of "Negative Utopia" is timelier than ever-and its warnings more powerful in this three-act adaptation.

    The aged, abused monarch—a man in his eighties, like Harold Bloom himself—is at once the consummate figure of authority and the classic example of the fall from majesty. He is widely agreed to be William Shakespeare’s most moving, tragic hero. Award-winning writer and beloved professor Harold Bloom writes about Lear with wisdom, joy, exuberance, and compassion. He also explores his own personal relationship to the character: Just as we encounter one Emma Bovary or Hamlet when we are seventeen and another when we are forty, Bloom writes about his shifting understanding—over the course of his own lifetime—of Lear, so that this book also explores an extraordinarily moving argument for literature as a path to and a measure of our humanity. Bloom is mesmerizing in the classroom, wrestling with the often tragic choices Shakespeare’s characters make. He delivers that kind of exhilarating intimacy, pathos, and clarity in Lear.

    At a screening at Cannes in May 1979, Francis Ford Coppola said simply, "There wasn't a truthful thing written about [the film] in four years." That year at Cannes, Apocalypse Now won the Palme d'Or, going on from there to worldwide acclaim and etching itself in the memories of audiences with unforgettable sequences like the dawn helicopter attack scored to Wagner's "Ride of the Valkyries" or Lt. Colonel Kilgore's chilling "I love the smell of napalm in the morning." Here, generously illustrated with evocative stills from the film and revealing photographs from the set, is the story behind the movie where Vietnam met Joseph Conrad's Heart of Darkness. It is the extraordinary saga of Coppola and his crew and actors-who included Marlon Brando, Robert Duvall, Harvey Keitel, Martin Sheen, Dennis Hopper, and Harrison Ford -- battling hurricanes in the jungles of the Philippines, the calamity of a lead actor's heart attack, and crises both psychological and financial . . . in the end giving rise to a modern film classic.

    This 1960's French farce adapted for the English-speaking stage features self-styled Parisian lothario Bernard, who has Italian, German, and American fiancees, each beautiful airline hostesses with frequent "layovers." He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

    "By a mile, the best new play of the season>"--John Heilpern, New York Observer.

    He visits an old flame, buys a gun and goes on a blistering road trip through the new home front.'I don't blame the war. The war was alright. I miss it. It's just you come back to this.'Written during the London bombings of 2005, Motortown is a fierce, violent and controversial response to the anti-war movement - and to the war itself. Chaotic and complex, powerful and provocative, Simon Stephen's new play portrays a volatile and morally insecure world.Motortown premieres at the Royal Court Theatre on 21 April 2006. It follows the critically acclaimed On the Shore of the Wide World (Manchester Royal Exchange/National Theatre), winner of the Olivier Award for Best New Play (2005).

    

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    In 1979, Thatcher's Britain was a country crippled by strikes, joblessness, and economic gloom, divided by race and class—and skanking to a new beat: 2 Tone. The unruly offspring of white boy punk and rude boy ska, the Specials burst on to the scene. On stage they were electric, and at the heart of this energy was the vocal chemistry of the ethereal Terry Hall and Jamaican rude boy Neville Staple. In 1961, five-year-old Neville was sent to England to live with his father, a man for whom discipline bordered on child abuse. As he recounts here, growing up black in the Midlands of the 1960s and 1970s wasn't easy, and his youth was marked by scuffles with skins, compulsive womanizing, and a life of crime that led from shoplifting to burglary and eventually prison. But throughout there was music, and Nev reveals how he became part of the most important band of the 1980s. He remembers sound system battles; the legendary 2 Tone tour with the Selecter, Madness, and Dexy's, and their clashes with white nationalist thugs. He recalls the band's increasing tensions and eventual split; his subsequent foray into bubblegum pop with Fun Boy Three; and a newfound fame in America as godfather to Third Wave ska bands. Finally he reflects on the Specials' reunion and how even now, 30 years later, they can't help tearing themselves apart.