Now, in this final chapter, she stares down the barrel of a mature existence, and realises that if she's ever going to live a normal life, she'll have to shed herself of her past completely, and start all over again. But after all the baggage is dumped, is there even anything left of the little girl within? DISCLAIMER: This is a true story of child abuse. Reader discretion is advised.

    He has left behind nearly a million words of text, but his life is still a mystery. This book is an engaging introduction to a subject that students will certainly encounter many times throughout their education—and their lives. Lucid language and dramatic illustrations re-create the Bard's world of kings and queens, fairies and potions, and bloody beheadings. It imparts an amazing amount of vivid, interesting material about place, period and background of Shakespeare. This sweeping account is a biography, a history, and a retelling of some of Shakespeare’s most famous plays—all in one approachable volume. Salient Features: • Shakespeare's Early Life • Life as Playwright and Actor • Theatre Companies • Style of Presentation • Last Years of Life • England of Shakespeare's Days • Drama in Shakespeare's Days • Shakespeare's Greatness as a Poet • Shakespeare's Influence • Works of Shakespeare in detail • Principal Facts of Shakespeare's Life

    Now, six years later, his old friend, Sheriff Seth Bowlen, in Sisters, Colorado is in trouble and needs help. Sheriff Bowlen sends a wire to United States Marshal Billy French in Santa Fe who in turn sends Deputy Marshal Wade Garrison to help their old friend. Innocently, Wade decides to take his wife, Sarah, and son, Emmett, with him so they can visit her family in Harper, a small town northeast of Sisters. As he and his family board the train in Santa Fe, he could not have known that a terrible storm of violence was already brewing and this fateful decision could destroy his wife and child.

    Sometimes wacky, sometimes profound, the title is always entertaining, with the odd bit of sleaze.

    The guide presents the major debates that surround these works as they develop, from Martin Esslin's early appropriation of the plays as examples of the Theatre of the Absurd, to recent poststructuralist and postcolonial readings by critics such as Steven Connor, Mary Bryden and Declan Kiberd. Throughout, Boxall clarifies and contextualizes critical responses to the plays, and considers the difficult relationship between Beckett and his critics.

    Foster carer Mia Marconi was thrilled when he first arrived – a boy the same age as her son.It can be so bewildering for foster children when they arrive. The older ones are usually withdrawn and sullen. The younger ones will be screaming, spitting at you, making themselves sick and throwing themselves on the floor.For Mia, it’s normally her boisterous, happy children who provide the comfort at the beginning, because why should they trust another adult. Children always feel safe and secure when there are other children about. Mia believes it’s through making relationships with other children that they begin to trust adults again. But little did she know that six-year-old Brody was actually taking his anger and frustration out on her son. She quickly begins to realise the heavy price her family has had to pay. (Amazon.com)

    Taking his inspiration from Dylan Thomas' Under Milk Wood, Louis de Bernières chose to celebrate his ten years of life in the south London suburb, living above a small shop that had been by turns an outlet for oversized naughty clothes for transvestites, a West Indian hairdressers and a junk shop, by writing of the people that he had known and come to love in his time there.Brilliantly capturing the myriad voices of modern Britain, with their different rhythms of speech and accents, their humour and their tragedy, jokes and gossip, de Bernières' tour de force takes us to the heart of a community and its spirit - the lives and loves, the tears and the laughter of its people.

    But when a domestic disturbance call takes a turn for the worse, their friendship is put on the line. The result is a difficult journey into a moral gray area where trust and loyalty struggle for survival against a sobering backdrop of pimps, prostitutes, and criminal lowlifes.A dark duologue filled with sharp storytelling and biting repartee, A Steady Rain explores the complexities of a lifelong bond tainted by domestic affairs, violence, and the rough streets of Chicago.

     Anthony had a special feeling about Jonathan Larson's rock musical from his first audition, so he was thrilled when he landed a starring role as the filmmaker Mark Cohen. With his mom's cancer in remission and a reason to quit his newly acquired job at Starbucks, his life was looking up. When Rent opened to thunderous acclaim off Broadway, Rapp and his fellow cast members knew that something truly extraordinary had taken shape. But even as friends and family were celebrating the show's success, they were also mourning Jonathan Larson's sudden death from an aortic aneurysm. By the time Rent made its triumphant jump to Broadway, Larson had posthumously won the 1996 Pulitzer Prize. When Anthony's mom began to lose her battle with cancer, he struggled to balance the demands of life in the theatre with his responsibility to his family. Here, Anthony recounts the show's magnificent success and his overwhelming loss. He also shares his first experiences discovering his sexuality, the tension it created with his mother, and his struggle into adulthood to gain her acceptance. Variously marked by fledgling love and devastating loss, piercing frustration and powerful enlightenment, Without You charts the course of Rapp's exhilarating journey with the cast and crew of Rent as well as the intimacies of his personal life behind the curtain.

    In "Song of Herself", Kahlo expert and child psychiatrist Salomon Grimberg introduces and contextualizes an intimate, deeply introspective interview that Kahlo gave towards the end of her life to her friend the psychologist Olga Campos for an unpublished book on the creative process. Kahlo comments directly and starkly as never before on her life, her loves and her art, and expresses her attitudes towards sexuality, her body, friendship, politics and death, among other personal concerns.The most revealing autobiographical text known on this singular woman, this startling interview is accompanied here by Campos' reflections on her relationship with Kahlo and a psychological assessment of Kahlo by Dr James Bridger Harris. The book is illustrated with selected photographs and works by Kahlo, including previously unseen and rarely seen drawings.

    Some of these characters remain friends, others are like ex–lovers with whom we no longer have anything in common. All of them bring something out in us that will never go back in the box.’ In a varied and distinguished career, Harriet Walter has played almost all of Shakespeare’s heroines, notably Ophelia, Helena, Portia, Viola, Imogen, Lady Macbeth, Beatrice and Cleopatra, mostly for the Royal Shakespeare Company. But where, she asks, does an actress go after playing Cleopatra’s magnificent death? Why didn’t Shakespeare write more – and more powerful – roles for mature women? For Walter, the solution was to ignore the dictates of centuries of tradition, and to begin playing the mature male characters. Her Brutus in an all–female Julius Caesar at the Donmar Warehouse was widely acclaimed, and was soon followed by Henry IV. What, she asks, can an actress bring to these roles – and is there any fundamental difference in the way they must be played? In Brutus and Other Heroines, Walter discusses each of these roles – both male and female – from the inside, explaining the particular choices she made in preparing and performing each character. Her extraordinarily perceptive and intimate accounts illuminate each play as a whole, offering a treasure trove of valuable insights for theatregoers, scholars and anyone interested in how the plays work on stage. Aspiring actors, too, will discover the many possibilities open to them in playing these magnificent roles. The book is an exploration of the Shakespearean canon through the eyes of a self-identified ‘feminist actor’ – but, above all, a remarkable account of an acting career unconstrained by tradition or expectations. It concludes with an affectionate rebuke to her beloved Will: ‘I cannot imagine a world without you. I just wish you had put more women at the centre of your world/stage… I would love you to come back and do some rewrites.’

    The author of 'The Life and Times of the Thunderbolt Kid' isn't, after all, a Shakespeare scholar, a playwright, or even a biographer. Reading 'Shakespeare The World As Stage', however, one gets the sense that this eclectic Iowan is exactly the type of person the Bard himself would have selected for the task. The man who gave us 'The Mother Tongue' and 'A Walk in the Woods' approaches Shakespeare with the same freedom of spirit and curiosity that made those books such reader favorites. A refreshing take on an elusive literary master.

    progresses with the pandemonium of ever changing twists, secrets, lies, and love in Pretty Lips That Thugs Love 3, the final book of the series. Ashanti McNeal finally walked away from the only relationship that she had ever known with Kentay Mills. However, Kentay vowed to never let his wife Ashanti go, especially to his brother Ahmad. But, is he fighting a losing battle? Despite Kentay’s protests, Ashanti has moved on with her life to delve in new beginnings with the only man who has shown her what true love is about, Ahmad Jones. Just when Ashanti and Ahmad thought their footings were on solid ground, life came blazing in a flash to interrupt their fresh start. Will the new couple’s life together end before it really had a chance to begin? Fate had a way of testing the new couple’s commitment and love to each other. Will the tests proved to be too much? Or, will Ahmad and Ashanti stand strong in their love for one another? Karma finally came crashing into Kentay Mills’ life and sent him to the place that he didn’t want to go, prison. However, his circumstances didn’t prevent him from hoping to see the outside world again. Kentay still behaved and acted like the boss that he was, even behind those prison walls. Due to negligence on behalf of the police department, Kentay received word that his sentence would be cut short. Unfortunately, an unexpected brawl sent him to the infirmary that led him to come face to face with his past. Kentay had no choice but to succumb to the shocking secret from his past. How will this new eye-opener affect him? Will Kentay become a changed man after his stint in prison? Or, will he continue down the same old path that led to heartache and destruction? Ashanti’s world is rocked upside down when lies and secrets are discovered. These revelations will undoubtedly have a crucial impact on her life. Can she still trust the people who were always supposed to be straightforward and honest with her? Kentay and Ashanti. Ashanti and Ahmad. Brother versus Brother. Revelation after revelation. Will the turmoil ever cease? Will love win in the end? Find out in this final installment of the Pretty Lips That Thugs Love.