It was taken over, some say stolen, from the Pioneers. Everyone's an employee and you're born into your pay grade. What happens when a young man is thrust into a position of power by an accident of birth? What secrets are hidden by the Corporation?Can one boy create a new way to live?

    The central characters of this play portray the modern, middle-class, Indian family: a daughter who lives inAustralia with her husband and children, a son who is a media professional, a younger daughter who is willing to marry a 'suitable' boy from the US whom she has never met, a doting mother, an ageing father rapidly losing his authority, and a loyal cook. Wedding Album operates at two levels: it explores the traditional Indian wedding in a globalized, technologically-advanced India even as it juxtaposes the very different life experiences and expectations of the family and the loyal cook. By doing this, Karnad reveals how particular notions ofwealth, well-being, sexual propriety, tradition, and modernity form the basis of middle-class society in contemporary India. This play has already been staged at numerous venues and was translated by Karnad himself from Kannada into English. An outstanding addition to OUP's corpus of plays by Girish Karnad, this volume will be of value not only to students and teachers of modern Indian drama, but also to general readers.

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

    Beam Piper with active table of contents.Works include:The AnswerThe Cosmic ComputerCrossroads of DestinyDay of the MoronDearestThe Edge of the KnifeFlight From TomorrowFour-Day PlanetGenesisGraveyard of DreamsHe Walked Around the HorsesThe KeeperLast EnemyLittle FuzzyThe MercenariesMinistry of DisturbanceMurder in the GunroomNaudsonceNull-ABCOomphel in the SkyOmnilingualOperation R.S.V.P.PatrolPolice OperationRebel RaiderThe ReturnA Slave is a SlaveSpace VikingTemple TroubleTime and Time AgainTime CrimeUllr Uprising

    Disturbing encounters with unknown ships. Three great superpowers manoeuvre against each other. But are their destinies their own, or are they merely the puppets of some greater power? Since the loss of the Prism system in 3300, Lady Kahina Tijani Loren has operated on the fringes of Imperial society. Led by clues from a woman once thought dead, she is drawn into a conspiracy at the heart of humanity. To uncover the truth she must contend with dangerous enemies, navigate murky political waters, and – with the help of her friends – uncover the secret of the Formidine Rift. Premonition is the new story set in the Elite: Dangerous galaxy, shaped by player actions in the game.

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.

    Our star has finally given up her most closely guarded secret, a secret that will enable travellers to voyage back in time, to a land where dinosaurs rule the Earth. After decades of preparation and construction, Yamamoto Industries are ready to unveil their discovery to the world. Unbeknownst to every teenager across the globe, they have been entered into an incredible competition. The winners have been chosen, five remarkable young adults, all of whom have achieved amazing accomplishments. The Jurassic Five will be the first tourists to voyage back to Jurassic Earth. This world is no game. Carnivore or herbivore, there are animals that will eat you whole, crush you for invading their territory, drag you into the ocean or whisk you away from above. In this world, everything is lethal. The tour guides have a saying to encourage visitors to obey the rules, “You can have the best time of your life or the last time of your life.” Yamamoto Industries have made every effort to create excursions and experiences free from danger, in which tourists can enjoy the spectacles from a safe distance. But, after a freak accident, the Jurassic Five are left stranded in a hostile world, where death has already begun hunting them with ruthless efficiency. They must now fight to survive against overwhelming odds, in a terrifying alien world.

    Sabre 005, a synergetic, air-breathing rocket engine, will revolutionise air travel as the world knows it. Paul Santos, a French engineer, developed the aircraft. A jet in the atmosphere and a rocket in space, Sabre 005 is set for its first ever-commercial test flight- and its first fare paying passengers are already scheduled for one year's time. Joe Yavanoski, a compulsorily- retired union boss, knows that the threat Sabre 005 poses. Its success will spell the death of his country's former great aircraft industry and the loss of hundreds of thousands of jobs. Including that of top engineer Jean Lesseps. Together, Yavanoski and Lesseps hatch a plan to shatter the publics' confidence for ever- the perfect, undetectable bomb that will wipe out Sabre 005 its passengers and its crew, once and for all. All they have to do is get it on board.

    Then a Chinese mining facility discovers an unusual artifact on the far side of the moon. A device which could change the way humanity sees itself and its place in the galaxy. Sam finds himself on the project of his dreams only to get caught up in a sudden war between the US and China. A war that prevents the two governments from noticing an even more dangerous arrival. "Imaginative science fiction based in hard science and realistically envisioned future geopolitics, NO HIGHER GROUND is a thriller with a wildly inventive reality. Surprising alliances and betrayals are set against stakes which reveal the war games we humans play are a mere footnote in the battles fought across the universe. An exciting debut." - Nina Sadowsky, author of JUST FALL and THE BURIAL SOCIETY

    Hunter's A Bright New Boise is a earnest comedy about the meager profits of modern faith. In the bleak, corporate break room of a craft store in Idaho, someone is summoning The Rapture. Will, who has fled his rural hometown after a scandal at his Evangelical church, comes to the Hobby Lobby, not only f

    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

    The Undead. A Town Called Discovery and The Worldship Humility.A virtual reality.A fleet of spaceships.A shimmering blue door.A virus unleased upon the planet.Four worlds that do not co-habit the same time and space.But things are never quite as they seem…*This book is intended for existing fans of the series, The Undead, Extracted, A Town Called Discovery and The Worldship Humility, and as such, it may not appeal to new readers who have not read those series.

    As they prepare for a wedding, outside their living room the Iranian Revolution simmers and threatens to alter the course of their lives. Set over the course of 14 years, Sanaz Toossi’s timely world premiere play, directed by Gaye Taylor Upchurch, shines a light on the daring potential of friendship amid the relentless aftershocks of political upheaval. Directed by Gaye Taylor Upchurch

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.