The grandson of Thomas H, Huxley (Darwin's famous defender), he was born in England and educated at Eton and Oxford. He traveled widely in his youth and lived in Italy for a while in the 1920s. He began his literary career with poetry and critical essays, then turned to novels. Having been born just too late to participate in World War I, he was able, in his early works, such as CROME YELLOW (1921), ANTIC HAY (1923), THOSE BARREN LEAVES (1925), and POINT COUNTER POINT (1928), to perfectly capture a sense of purposeless aftermath which resonated strongly in British society at the time. A satirical strain already evident manifested itself spectacularly in BRAVE NEW WORLD (1932), after which much of his work began to show a fantastic or speculative cast, including AFTER MANY A SUMMER DIES THE SWAN (about immortality, 1939), TIMES MUST HAVE A STOP (1944), and APE AND ESSENCE (a dystopia, 1948). ISLAND, his last work, published in 1962, is a utopia. Late in life he developed an increasing disdain for Western society and an interest in Eastern mysticism and in the possibilities of psychedelic drugs, which he described in THE DOORS OF PERCEPTION (1954). MORTAL COILS is a short-story collection from Huxley's early period, including one of his most popular stories, "The Gioconda Smile."

    He has taken the ordinary West End drawing room comedy convention - understatement, upper-class accents and all - and used it as a vehicle for utterly serious ideas.' Observer

    This book contains the complete novels of Jane Austen in the chronological order of their original publication.- Lady Susan- Sense and Sensibility- Pride and Prejudice- Mansfield Park- Emma- Persuasion- Northanger Abbey- The Watsons- Sanditon

    In the characters and their circumstances details of Joyce's life are evident. The main character, Richard Rowan, the moody, tormented writer who is at odds with both his wife and the parochial Irish society around him, is clearly a portrait of Joyce himself. The character of Rowan's wife, Bertha, is certainly influenced by Joyce's lover and later wife, Nora Barnacle, with whom he left Ireland and lived a seminomadic existence in Zurich, Rome, Trieste, and Paris. As in real life, the play depicts the couple with a young son and, like Joyce, Rowan has returned to Ireland because of his mother's illness and subsequent death.One can also detect hints of Joyce's interest in Nietzsche in Rowan's flawed pursuit of total individual freedom despite the stifling morals of Irish society. Though wrestling with guilt over his own infidelities, Rowan insists on this personal liberty, not only for himself but for his wife as well, who he knows is tempted by his cousin's amorous overtures.Joyce's decision to express himself in the form of a play no doubt reflects his long admiration of the Norwegian playwright Henrik Ibsen. In the tense dialogue, the largely interior drama focused on the characters' relationships, the undertones of guilt, and the longing for freedom one sees similarities with Ibsen's themes. Also the spare, understated writing style - so unlike Joyce's exuberant, playful, and experimental use of language in his novels - shows the influence of Ibsen's "naked drama" (as Joyce described Ibsen's style in a published review). Above all, Joyce emulated the Scandinavian master in making the central issue of his drama the conflict between individual freedom and a demanding, judgmental society. In Exiles the protagonists struggle with the choice between living in defiance of the rigid conventions of Irish society or exile from their homeland.Though lesser-known, Exiles, written after Portrait of the Artist as a Young Man and while Joyce was working on Ulysses, provides interesting insights into the development of the creative gifts of a literary genius.

    After a brief stint in the business world, Sabatini went to work as a writer. He wrote short stories in the 1890s, and his first novel came out in 1902. It took Sabatini roughly a quarter of century of hard work before he attained success with Scaramouche in 1921. This brilliant novel of the French Revolution became an international bestseller. It was followed by the equally successful Captain Blood in 1922. A prolific writer, he produced about a book a year. Mistress Wilding begins: Then drink it thus, cried the rash young fool, and splashed the contents of his cup full into the face of Mr. Wilding even as that gentleman, on his feet, was proposing to drink to the eyes of the young fool's sister. See other titles by this author available from Kessinger Publishing.

    Told by an eclectic group of historical and modern characters in a continuous conversation across ages and generations, Top Girls was hailed as 'the best British play ever from a woman dramatist' by The Guardian.

    Norman, dresser to the troupe's aging, megalomaniac star, struggles to maintain his composure and sanity amid air raid sirens, German bombing runs, and a master thespian slowly merging with the thunderous Mad King.Premiered in 1980 at the Royal Exchange Theatre, Manchester, starring Freddie Jones as "Sir" and Tom Courtenay as Norman.

    Vladimir and Estragon wait near a tree, inhabiting a drama spun of their own consciousness. The result is a comical wordplay of poetry, dreamscapes, and nonsense, which has been interpreted as mankind’s inexhaustible search for meaning. Beckett’s language pioneered an expressionistic minimalism that captured the existential post-World War II Europe. His play remains one of the most magical and beautiful allegories of our time.

    When newlywed begins to fill her days with fashion and frivolity, her husband has to wonder whether she really did marry him for his money, as his family so helpfully suggests. He thought they were marrying for love, but as the bills and extravagant debts begin to mount up, Giles begins to suspect that perhaps his adored wife isn't as innocent as he supposed. Especially since, as of late, she's been unable to look him in the eye...Impetuous Lady Helen Cardross had collected quite a basket of little white lies in her efforts to help those less fortunate than herself. There were, for example; her own dashing, debt-ridden brother, and her husband's love-sick, youthful sister. But to her adored (and adoring) lord and master, there could be no dissembling of integrity, honor, or truth. One faced up to grim reality -- unless one were Lady Helen.When his family's priceless jewels disappear, Lord Cardross is aghast at the idea that his lovely new wife might be the culprit, but he soon discovers the truth about Lady Nell's situation. And between his concern over his wife's spending sprees, rescuing her impulsive brother from one scrape after another, and attempting to prevent his own half--it's no wonder the much-tried earl can't see where he's gone wrong. And now owing a shocking amount of money, Nell doesn't dare tell him the truth--that she's loved him from the first, and thought he'd married her for convenience.

    Two of them—The School for Scandal and The Rivals—are among the funniest in the English language.The Rivals, brimming with false identities and with romantic entanglements carried on amid a cloud of parental disapproval, satirizes the pretentiousness and sentimentality of the age. It features a cast of memorable characters, among them the lovely Lydia Languish, whose pretty head has been filled with nonsense from romantic novels; Capt. Jack Absolute, a young officer in love with Lydia; Sir Anthony Absolute, Jack's autocratic father; Sir Lucius O'Trigger, a fiery Irishman; and Jack's provincial neighbor, Bob Acres, a bumptious but lovable country squire in love with Lydia.Hoping to win Lydia's affection, Captain Jack woos the pretty miss by pretending to be a penniless ensign named Beverley, an act that nearly incites a duel with Acres. His actions also provoke serious objections from Lydia's aunt, Mrs. Malaprop, a misspeaking matron whose ludicrous misuse of words gave the English language a new term: malapropism. Ultimately, the hilarious complications are resolved in a radiant comic masterpiece that will entertain and delight theater devotees and students of English drama alike.

    The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.

    While teenager Abigail parties a few doors away, the pretentious Beverly and her estate agent husband, Laurence, entertain their neighbours – Abigail’s mother, Susan, ex-footballer, Tony, and his wife, Angela. But as the alcohol flows, tensions in the hosts’ barely functional marriage emerge and their obsessions, prejudices and petty competitiveness are ruthlessly, and hilariously, exposed. ‘Goose-Pimples’, meanwhile, is easily as sharp and uncompromising. This time, the action focuses on ambitious casino croupier, Jackie, and Saudi businessman, Muhammad, who meet – and misunderstand – one another spectacularly.

    After plans to elope with her lover to Australia and train as a nurse in London lead to nothing, she joins a traveling theater group and succumbs to the charms of the dark, passionate Italian Ciccio.This edition also contains pictures, personal notes, and other critical primary source material.

    But when he admits his deception, the countess is faced with a social dilemma. A painful and hilarious comedy for anyone who has ever fallen in love with someone they shouldn’t have fallen in love with, The Dog in the Manger was part of the Royal Shakespeare Company’s acclaimed Spanish Golden Age Season in 2004.

    As their wedding day grows near, Alfred finds himself embroiled in an urban nightmare not the least of which is his fiance's family, the possiblity of marriage without Faith, muggings, and a sniper's bullet.