He is faced with difficulties when the circus he belongs to must travel from place to place. The trapeze artist is said to be dedicated solely to perfecting his art. The theatrical group and the manager do not object to this as they proceed to accommodate his every demand, which Kafka will note is never refused. As such, when the artist does travel, he is said to get his own accommodations: for in-town show,he is taken to performances in a race cars so as to not prolong his sufferings, or, if traveling by train, a whole compartment is reserved and he travels atop the luggage. Upon arrival, the artist takes place, hanging aloft the trapeze. Even during the performances of the theatrical group, he remained in public view but remained perfectly still.

    Writing with a pitch and heat that gets to the heart of the unforgiving classical world, Carson, a poet and classicist, translates four of the eighteen surviving plays by Euripides.Includes Heracles, Hecuba, Hippolytus, Alcestis.

    The play also daringly showcased the burden of sexuality repressed in the agony of her husband, Brick Pollitt. In spite of the public controversy Cat stirred up, it was awarded the Pulitzer Prize and the Drama Critics Circle Award for that year. Williams, as he so often did with his plays, rewrote Cat on a Hot Tin Roof for many years—the present version was originally produced at the American Shakespeare Festival in 1974 with all the changes that made Williams finally declare the text to be definitive, and was most recently produced on Broadway in the 2003–2004 season. This definitive edition also includes Williams&rsquoi; essay “Person-to-Person,” Williams’ notes on the various endings, and a short chronology of the author’s life. One of America’s greatest living playwrights, as well as a friend and colleague of Williams, Edward Albee has written a concise introduction to the play from a playwright’s perspective, examining the candor, sensuality, power, and impact of Cat on a Hot Tin Roof then and now.

    It did not appear in print in Chopin's lifetime; it was published in 1969. This story is the sequel to Chopin's At the Cadian Ball.

    Following her mom's death, she's been picking up the pieces in the privacy of her home, dealing with her heartbroken father and her own grief. Now, Libby's ready: for high school, for new friends, for love, and for every possibility life has to offer. In that moment, I know the part I want to play here at MVB High. I want to be the girl who can do anything. Everyone thinks they know Jack Masselin, too. Yes, he's got swagger, but he's also mastered the impossible art of giving people what they want, of fitting in. What no one knows is that Jack has a newly acquired secret: he can't recognize faces. Even his own brothers are strangers to him. He's the guy who can re-engineer and rebuild anything, but he can't understand what's going on with the inner workings of his brain. So he tells himself to play it cool: Be charming. Be hilarious. Don't get too close to anyone.Until he meets Libby. When the two get tangled up in a cruel high school game—which lands them in group counseling and community service—Libby and Jack are both pissed, and then surprised. Because the more time they spend together, the less alone they feel. Because sometimes when you meet someone, it changes the world, theirs and yours.

    When billionaire mogul James Preston hires an escort as a date for his brother’s wedding, he knows he’s taking a risk. One thing he won’t be taking? The escort’s clothes off. He just wants a date—not a girlfriend. Not a relationship. No strings. No ties. No games. No sex. He has his reasons. He lost someone he loved, and isn’t interested in trying again. Too many opportunities for mistakes or worse, heartbreak. Audrey Reynolds became a high-end escort to keep her brother in his expensive group home. James Preston is the client of her dreams—he’s offering to pay her more money for two weeks than she’s ever made before. But James is... difficult. He’s gorgeous, troubled and all too human for Audrey's business-like tastes. Determined to complete her assignment and collect the money, Audrey tries to play by James’s rules. But before she knows what's happening, he's rewriting the contract. When Audrey ends up in James’s bed, he realizes that she’s everything he’s wanted… and everything he’s been running from. Escorting the Actress He was my party-boy billionaire stepbrother... Now he's my disinherited, sexy escort? FML! Kyle: She was my geeky, brace-faced stepsister. Now she's a stunning Hollywood actress. And she just became a client at the upscale escort agency where I work. Things might finally be looking up. Lowell: I had a PR disaster on my hands. I needed a pretend boyfriend--so I called the escort service. But then stepbrother bad boy showed up. Now I'm all sorts of screwed. Or wishing I was. Wait--I take that back! I take it back! Kyle: My powerful father will do anything to keep me away from Lowell, including dangling my fortune in front of me. But I just might be more interested in what my sexy ex-stepsister has to offer. That is, if I can convince her to give it to me. Escorting the Player Win or Lose... Winning is important but this is championship quarterback Chase Layne's last chance for glory. All he wants for his final season is to win the Superbowl. But dreams of ending his career on a high will be sacked if his soon to be ex-wife has her way. She and her new boyfriend have plans to ruin Chase in a media smear, stealing everything he's worked to achieve. He just has to show the press he's still in control and on top of his game, in business and his private life. It's How You Play the Game... Avery Banks knows all about being played. Life has done that to her for years now and she's tired of being the loser. All she needs is a big score...a job paying enough money to allow her stop turning tricks for good and to get her sister into rehab. Then it happens! She gets the dream job pretending to be a star football player's girlfriend. All she has to do is make him look good, help him keep up his All American Boy image for the next few weeks. Easy, right? Except her sister sees an even bigger payoff: Blackmailing Chase. As Chase and Avery play offense to everyone trying to bring them down, Avery must also face the hard truth: she's made the ultimate rookie mistake...falling in love with a client. Escorting the Groom TO HAVE AND TO HOLD… Ruthless technology billionaire Lucas Ford has run out of time. The rules of his trust make it clear: be married by thirty-five and stay married for one year. Otherwise, bye-bye inheritance—and the family fortune will be inherited by his sister, who might very well blow it on Botox and funding her sorority alma mater.

    Tells the tale of three aspiring comics creators with big dreams, small cash, and publishing rights to one forgotten Golden Age hero - The Escapist.

    On the one hand it describes King Alfred's battle against the Danes in 878. On the other hand it is a timeless allegory about the ongoing battle between Christianity and the forces of nihilistic heathenism. Filled with colorful characters, thrilling battles and mystical visions, it is as lively as it is profound. Chesterton incorporates brilliant imagination, atmosphere, moral concern, chronological continuity, wisdom and fancy. He makes his stanzas reverberate with sound, and hurries his readers into the heart of the battle. This deluxe volume is the definitive edition of the poem. It exactly reproduces the 1928 edition with Robert Austin's beautiful woodcuts, and includes a thorough introduction and wonderful endnotes by Sister Bernadette Sheridan, from her 60 years researching the poem."When Chesterton writes poetry, he excels like no other modern writer. The rhyme, rhythm, alliteration and imagery are a complete joy to the ear. But The Ballad of the White Horse is not just a poem. It is a prophecy." —Dale Ahlquist, President, The American Chesterton Society"Not only a charming poem and a great tale, this is a keystone work of Christian literature that will be read long after most of the books of our era are forgotten." —Michael O'Brien, Author, Father Elijah

    Opening with the title poem, a memorable elegy to the poet's mother, the book features a haunting series of poems that evoke Walcott's native ground, the island of St. Lucia. "For almost forty years his throbbing and relentless lines kept arriving in the English language like tidal waves," Walcott's great contemporary Joseph Brodsky once observed. "He gives us more than himself or 'a world'; he gives us a sense of infinity embodied in the language."

    Enchantment and reality collide at a 1932 meeting between Alice Liddell Hargreaves, the original Alice in Wonderland, and Peter Llewelyn Davies, the original Peter Pan. Peter and Alice, which opened on London's West End in March 2013, stars Judi Dench and Ben Whishaw.

    "The Jewelry" is a short tale of a poor man whose beloved wife abruptly passes away, who finds himself with several thousand francs worth of her jewelry on his hands.

    

    Based on Norwegian folklore and Ibsen’s own imaginative inventions, the play relates the roguish life of the world-wandering Peer, who finds wealth and fame — but never happiness — although he is redeemed by love in the end. As the play opens the young farmer attends a wedding and meets Solveig, the woman who is eventually to be his salvation. However, the rascally Peer then kidnaps the bride and later abandons her in the wilderness. This dismal performance is followed by a string of adventures (many of which do not reflect well on Peer) in many lands. After these soul-chilling exploits, an old and embittered Peer returns to Norway, eventually finding solace in the arms of the faithful Solveig. Like other early Ibsen plays, such as Brand (1865) and Emperor and Galilean (1873), the work is imbued with poetic mysticism and romanticism, and in Peer we find a rebellious central character in search of an ultimate truth that always seems just out of reach. In this sense Peer can be seen as an alter ego of Ibsen himself, whose lifelong search for artistic and moral certainties resulted in the great later plays (Hedda Gabler, The Wild Duck, An Enemy of the People, etc.) upon which his reputation chiefly rests. This rich, poetic version of Peer Gynt is considered the standard translation.

    In A Room of One's Own (1929), she examines the work of past women writers, and looks ahead to a time when women's creativity will not be hampered by poverty, or by oppression. In Three Guineas (1938), however, Woolf argues that women's historical exclusion offers them the chance to form a political and cultural identity which could challenge the drive towards fascism and war.