That was my mammy's name, anyway. Jenny. You be Jenny from now on..." Cornelius Carson's mother cautioned him never to own slaves, but in 1830s Louisiana, land and slaves are proof of a man's worth. At 23 Cornelius is ambitious, and in love. He owns one elderly slave, Malachi, and a small cotton farm along Bayou Cocodrie. And he plans to marry Stephanie Coqterre, daughter of a wealthy Natchez planter. He needs another field-hand, but prices are high. So when a trader brings a coffle of smuggled slaves to Natchez, Cornelius buys a 10-year-old girl. She is mute and nameless, but she's all he can afford. He names her Jenny. It quickly becomes apparent that Jenny will change life on the Cocodrie as much as it changes her. The winds of ambition are blowing everywhere, both among the whites, who strive for wealth and status, and among the slaves, who yearn for freedom. But dangers are everywhere, too. As madness and treachery reach from Natchez to the Cocodrie to blast all their dreams, Cornelius struggles to find a way to salvage his life and the lives of Jenny and Malachi as well.

    Exchanging his job as a teacher in Oxfordshire for an expedition on Reggie the bike, he set off on his most daring trip yet: a journey from Tarifa in Spain to Nordkapp in Norway – from Europe’s geographical south to its northernmost point.Join the duo as they take on an epic journey across nearly 8000 km of Europe, through mountains, valleys, forests and the open road, proving that no matter where you’re headed, life on two wheels is full of surprises.

    Austen later compiled "fair copies" of these early works into three bound notebooks, now referred to as the "Juvenilia," containing pieces originally written between 1787 and 1793. (from Wikipedia).The 1st volume of juvenilia includes:* Frederic & Elfrida* Jack & Alice* Edgar & Emma* Henry and Eliza* The Adventures of Mr. Harley* Sir William Mountague* Memoirs of Mr. Clifford* The Beautifull Cassandra* Amelia Webster* The Visit* The Mystery* The Three Sisters* Detached Pieces (A Fragment, A beautiful description, The generous Curate, Ode to Pity)

    His consistently faithful depiction of these humble people's lives is a major strength of the Emigrant Novels.Moberg's extensive research in the papers of Swedish emigrants in archival collections, including the Minnesota Historical Society, enabled him to incorporate many details of pioneer life. First published between 1949 and 1959 in Swedish, these four books were considered a single work by Moberg, who intended that they be read as documentary novels. These editions contain introductions written by Roger McKnight, Gustavus Adolphus College, and restore Moberg's bibliography not included in earlier English editions.Book 1 introduces Karl Oskar and Kristina Nilsson, their three young children, and eleven others who make up a resolute party of Swedes fleeing the poverty, religious persecution, and social oppression of Sm�land in 1850."It's important to have Moberg's Emigrant Novels available for another generation of readers." --Bruce Karstadt, American Swedish Institute

    

    These three plays exemplify Eugene O'Neil's ability to explore the limits of the human predicament, even as he sounds the depths of his audiences' hearts.

    It broke all historic records for plays of any kind, with an original London run of 1,466 performances.The play was first performed at the Theatre Royal, Bury St Edmunds in February 1892.

    The tale was first published 21 December 1844 with "The Snow Queen" in Copenhagen, Denmark by C.A. Reitzel. One scholar indicates that "The Fir-Tree" was the first of Andersen's fairy tales to express a deep pessimism.

    Theatre script, playbook

    Local girl Johanne Lien dutifully gathers berries for tourists and poses barefoot for painters as ‘The Strawberry Girl’.Johanne becomes a maid for the wealthy Ihlen family, whose wayward daughter Tullik recruits her as a go-between in her pursuit of the controversial painter Edvard Munch. Before long, Johanne is drawn into the raw emotion of Munch’s art and his secret liaison with Tullik. But when she is asked to hide more than just secrets, Johanne must decide whether to take the risk…Lisa Stromme brings alive the tumultuous love affair that inspired one of the most famous paintings of all time, in a vivid and bewitching story of innocence, creativity and desire.

    A highly entertaining comedy that has never appeared in print or on stage, Is He Dead? is finally available to the wide audience Mark Twain wished it to reach. Written in 1898 in Vienna as Twain emerged from one of the deepest depressions of his life, the play shows its author's superb gift for humor operating at its most energetic. The text of Is He Dead?, based on the manuscript in the Mark Twain Papers, appears here together with an illuminating essay by renowned Mark Twain scholar Shelley Fisher Fishkin and with Barry Moser's original woodcut illustrations in a volume that will surely become a treasured addition to the Mark Twain legacy.Richly intermingling elements of burlesque, farce, and social satire with a wry look at the world market in art, Is He Dead? centers on a group of poor artists in Barbizon, France, who stage the death of a friend to drive up the price of his paintings. In order to make this scheme succeed, the artists hatch some hilarious plots involving cross-dressing, a full-scale fake funeral, lovers' deceptions, and much more.Mark Twain was fascinated by the theater and made many attempts at playwriting, but this play is certainly his best. Is He Dead? may have been too "out there" for the Victorian 1890s, but today's readers will thoroughly enjoy Mark Twain's well-crafted dialogue, intriguing cast of characters, and above all, his characteristic ebullience and humor. In Shelley Fisher Fishkin's estimation, it is "a champagne cocktail of a play--not too dry, not too sweet, with just the right amount of bubbles and buzz."

    Adopting the viewpoints of two distinct figures with radically different beliefs--the aesthetic young man of Part One, called simply 'A', and the ethical Judge Vilhelm of the second section--Kierkegaard reflects upon the search for a meaningful existence, contemplating subjects as diverse as Mozart, drama, boredom, and, in the famous Seducer's Diary, the cynical seduction and ultimate rejection of a young, beautiful woman. A masterpiece of duality, Either/Or is an exploration of the conflict between the aesthetic and the ethical--both meditating ironically and seductively upon Epicurean pleasures, and eloquently expounding the noble virtues of a morally upstanding life.This lightly abridged edition fully conveys the vigour and eloquence of the original. Alastair Hannay's introduction explains the philosophical background to the work and places it in the context of its times.

    Inspired by the Prometheus Bound of Aeschylus, Shelley's play serves as a sort of sequel, matching its Greek predecessor in stature and pure poetic power. It depicts its philanthropist hero's ultimate triumph over the superstition and bigotry of the gods. As Shelley himself stated in his Defence of Poetry, Prometheus Unbound awakens and enlarges the mind.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    With A Raisin in the Sun she gave this country its most movingly authentic portrayal of black family life in the inner city. Barely five years later, with The Sign in Sidney Brustein's Window, Hansberry gave us an unforgettable portrait of a man struggling wit his individual fate in an age of racial and social injustice. These two plays remain milestones in the American theater, remarkable not only for their historical value but for their continual ability to engage the imagination and heart. With an Introduction by Robert Nemiroff.