Maria was young and innocent and had never known love—until Tony. And he, who had been seeking something beyond the savagery of the streets, discovered it with her. But Maria’s brother was leader of the Sharks and Tony had once led the rival Jets. Now both gangs were claiming the same turf. Tony promised Maria that he would stay out of it. Would he be able to keep his word? Or would their newfound love be destroyed by sudden death?

    Long associated with the New York School that came to the fore in the 1950s, John Ashbery has charted a profoundly original course that has opened up pathways for subsequent generations of poets. At once hermetic and exuberantly curious, meditative and unnervingly funny, dreamlike and steeped in everyday realities, alive to every nuance of American speech, these are poems that constantly discover new worlds within language and its unexpected permutations.As the poet David Shapiro has written, “The poems of Ashbery may seem so open that they become, like Hamlet, that rare inexhaustible thing, the irreducible fact of great art.” This first volume of the collected Ashbery includes the texts of his first twelve books: Some Trees (1956), selected by W. H. Auden for the Yale Younger Poets; The Tennis Court Oath (1962); Rivers and Mountains (1966); The Double Dream of Spring (1970); Three Poems (1972), saluted by John Hollander as “a meditational masterpiece”; The Vermont Notebook (1975), presented with the original art by Joe Brainard; Self-Portrait in a Convex Mirror (which won the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award in 1976); Houseboat Days (1977); As We Know (1979); Shadow Train (1981); A Wave (1984); and April Galleons (1987). In addition it presents an unprecedented gathering of more than 60 previously uncollected poems written over a period of four decades.To read Ashbery’s work in sequence is to marvel at his refusal to rest on what has already been accomplished, his insistence on constantly renewed modes of expression. It is to become aware as well of the way his poetry chronicles life as really lived—“the way things have of enfolding / When your attention is distracted for a moment”—amid the surfaces of the quotidian (waking, dreamt, imagined, remembered) and the equally pervasive, equally elusive and deceptive surfaces of language. Through all his metamorphoses he has continued to work with incomparable freedom and humor: Ashbery (in the words of James Longenbach) “is constitutionally incapable of narrowing the possibilities for poetry.”

    The subsequent stage play became one of Broadway's longest-running comdies and the 1958 film was nominated for six Oscars. This volume charts the success of Auntie Mame.

    She's just 17, hates her parents, skives college and prefers life in the chatrooms. What she's looking for is someone honest and direct. Instead she finds Tim, a man twice her age, who thinks she is 11 and a boy.What seems at first to be a case of crossed wires, ends up as an unlikely, and unsettling friendship between the two, which culminates in a shocking, and morally challenging revelation.

    During the Seven Years War, just after the events narrated in The Last of the Mohicans, Natty brings the daughter of a British sergeant to her father’s station on the Great Lakes, where the French and their Indian allies are plotting a treacherous ambush. Here, for the first time, he falls in love with a woman, before Cooper manages bring off Leatherstocking’s most poignant, and perhaps his most revealing, escape.The Deerslayer (1842) brings the saga full circle and follows the young Natty on his first warpath. Instinctively gifted in the arts of the forest, pious in his respect for the unspoiled wilderness on which he loves to gaze, honorable to friend and foe alike, stoic under torture, and cool under fire, the young Leatherstocking emerges as Cooper’s noblest figure of the American frontier. Enacting a rite of passage both for its hero and for the culture he comes to represent, this last book in the series glows with a timelessness that readers everywhere will find enchanting.

    and pluck up the courage to speak to his laundromat crush Penny. With exclusive new material from Joss and the production team, new photos, sheet music and more, this official book is a must for fans!

    A prolific journalist who made himself a dominant figure in the emerging literary culture of postwar san Francisco, Bierce developed a style of slashing sarcasm that made him a feared antagonist. As a short story writer—whether drawing on wartime experiences or exploring realms of supernatural and psychological horror—he used extreme situations to give voice to his uniquely engrossing brand of pessimism.This volume gathers the most celebrated and significant of Bierce’s writings. In the Midst of Life (Tales of Soldiers and Civilians), his collection of short fiction about the Civil War, which includes the masterpieces “An Occurrence at Owl Creek Bridge” and “Chickamauga,” is suffused with a fiercely ironic sense of the horror and randomness of war. Close-up portraits of life in camp and on the battlefield offer unique, often startling, perspectives on the war whose after-echoes pervade Bierce’s writing.Can Such Things Be? brings together “The Death of Halpin Frayser,” “The Damned Thing,” “The Moonlit Road,” and other tales of terror that make Bierce the genre’s most significant American practitioner between Poe and Lovecraft. These tales are notable, in editor S. T. Joshi’s words, for “the meticulous etching of the precise effects of the supernatural upon the sensitive consciousness of his fear-raddled protagonists.”The Devil’s Dictionary, the brilliant lexicon of subversively cynical definitions on which Bierce worked for decades, displays to the full his corrosive wit.In Bits of Autobiography, the series of memoirs that includes the memorable “What I Saw of Shiloh,” he recreates his experiences in the war and its aftermath. The volume is rounded out with a selection of the best stories not gathered in the two major collections. Acclaimed Bierce scholar Joshi provides detailed notes and a newly researched chronology of Bierce’s life and mysterious disappearance.

    The fab five became one of the most successful music acts in history, with more than 85 million record sales world-wide and nine UK number one singles.Throughout the years, their lives have garnered unprecedented levels of media interest and fans have keenly followed their ups and downs – the personal conflicts, celebrity break-ups, controversies and parenthood. One thing’s for sure: they are never boring.In 2019, the prospect of their reunion tour has led to an outpouring of adoration and excitement, proving that the Spice Girls truly are an enduring cultural phenomenon.

    Kennedy Prize for Drama Inspired by American HistoryTwo siblings find themselves caught up in Detroit's 1967 riots in this new play from a top emerging American playwright.Detroit, 1967. Chelle and her brother Lank are making ends meet by turning their basement into an after-hours joint. But when a mysterious woman finds her way into their lives, the siblings clash over much more than the family business. As their pent-up feelings erupt, so does their city, and they find themselves caught in the middle of riots. Detroit '67 premiered at New York's The Public Theater in 2013, in association with the Classical Theater of Harlem and the National Black Theater."Riveting... what makes Morisseau's play so mind-blowing is the language. Her ear is in the tradition of the people's poet Langston Hughes and the people's soul collector Zora Neale Hurston; plus Morisseau is a direct heir to the magical wordsmiths named Lorraine Hansberry, Tennessee Williams, and August Wilson." - Kevin Powell, Huffington Post"An exceptional work that exemplifies the mission of the [Edward M. Kennedy] prize in its exploration of the rich history of our country through the power of theater." - Ambassador Jean Kennedy Smith"[We have] unanimously chosen to award the Edward M. Kennedy Prize for Drama Inspired by American History to Detroit '67 by Dominique Morisseau. The first in a three-play cycle about her hometown, Detroit, the play explores an explosive and decisive moment in a great American city. The jury was completely drawn into the world of Detroit '67, whose compelling characters struggle with racial tension and economic instability... Detroit '67 is a work grounded in historical understanding that also comments meaningfully on the pressing issues of our day.” - Jury panel, Edward M. Kennedy Prize for Drama Inspired by American History

    

    6 easy piano arrangements of songs from this Broadway classic, including: Many a New Day * Oh, What a Beautiful Mornin' * Oklahoma * Out of My Dreams * People Will Say We're in Love * The Surrey with the Fringe on Top.

    Note: The University of Adelaide Library eBooks @ Adelaide.

    For nearly a century, the work of O. Henry has delighted readers with its humor, irony and colorful, real-life settings. The writer's own life had more than a touch of color and irony. Born William Sidney Porter in Greensboro, North Carolina in 1862, he worked on a Texas ranch, then as a bank teller in Austin, then as a reporter for the Houston "Post." Adversity struck, however, when he was indicted for embezzlement of bank funds. Porter fled to New Orleans, then to Honduras before he was tried, convicted and imprisoned for the crime in 1898. In prison he began writing stories of Central America and the American Southwest that soon became popular with magazine readers. After his release Porter moved to New York City, where he continued writing stories under the pen name O. Henry. Though his work earned him an avid readership, O. Henry died in poverty and oblivion scarcely eight years after his arrival in New York. But in the treasury of stories he left behind are such classics of the genre as "The Gift of the Magi," "The Last Leaf," "The Ransom of Red Chief," "The Voice of the City" and "The Cop and the Anthem" — all included in this choice selection. A selection of the Common Core State Standards Initiative.

    The comic persona he invented, a modern citydweller whose zaniest flights of free association are tinged with anxiety, is as hilarious now as when he first appeared in the pages of The New Yorker—and his troubled side is even more striking. Here, The Library of America presents the best and most extensive Thurber collection ever assembled.Only a book of this scope can do justice to Thurber’s extraordinary career and to the many unexpected turns of his comic genius. Here are the acknowledged masterpieces: “The Secret Life of Walter Mitty,” “The Catbird Seat,” the anti-war parable The Last Flower, the brilliantly satirical Fables for Our Time, the children’s classic The 13 Clocks, and My Life and Hard Times, which Russell Baker calls “possibly the shortest and most elegant autobiography ever written.” Here too are the best pieces from The Owl in the Attic, Let Your Mind Alone!, My World—And Welcome To It, and The Beast in Me and Other Animals. From his other famous collections are included such favorites as “The Pet Department,” “The Black Magic of Barney Haller,” "Nine Needles,’ “the Macbeth Murder Mystery,” and “File and Forget,” revealing an astonishingly diverse mix of literary parodies, eccentric portraits, stories of domestic warfare and inner terror, reminiscences both tender and farcical, extravagant feats of wordplay, freewheeling burlesques of popular culture (from detective novels to self-help fads), and exasperated protests against the mechanized impersonality of the modern world.Thurber’s wonderful drawings—spontaneous creations of which he once said, “I don’t think any drawing ever took me more than three minutes”—are here in profusion, with their population of husbands, wives, dogs, seals, and various species of Thurber’s own invention. His first great cartoon collection, The Seal in the Bedroom, is presented complete, along with such celebrated sequences like “The Masculine Approach” and “The War Between Men and Women,” and his devastatingly straightforward illustrated versions of once-canonical poems such as “Barbara Frietchie” and “Excelsior.”Rounding out this volume is a selection from The Years with Ross, his memoir of New Yorker publisher Harold Ross, and a number of pieces, previously uncollected by Thurber, including some early work never before reprinted.

    This collects "Sonny's Blues", "The Rockpile" and "Previous Condition", all taken from Going to Meet the Man (Penguin, 1991).