All of her proceeds from this book will be donated to the Give2Asia/Happy Hearts Fund helping to rebuild the areas hardest hit.

    Lyly took up the story of two young women, Galatea (or Gallathea) and Phillida who are dressed up in male clothes by their fathers so that they can avoid the requirement of the god Neptune that every year "the fairest and chastest virgin in all the country be sacrificed to a sea-monster." Hiding together in the forest, the two maidens fall in love, each supposing the other to be a young man. "Galatea" has become the subject of considerable feminist critical study in recent years. "Midas" (1590) uses mythology in quite a different way, dramatizing two stories about King Midas in such a way as to fashion a satire of King Philip of Spain (and of any tyrant like him) for colossal greediness and folly. In the wake of the defeat of Philip's Armada fleet and its attempted invasion of England in 1588, this satire was calculated to win the approval of Queen Elizabeth and her court.

    "I Married Wyatt Earp will not be the last word on the subject, but it ranks at the top or very near the top of the importatnt books on the Tombstone story and probably the best on the key figure of Wyatt."--Arizona Highways"For anyone remotely interested in this era and the events that punctuated it, this book is an invaluable source."--Remark"A sympathetic recollection of life with Wyatt Earp which reveals as much about "Josie" as Wyatt."--The Journal of San Diego History

    When she met Ernest Simpson it was as if he was sent to save her from her past. But marriage to him led her to an extraordinary future.

    How was it that the most eligible bachelor in the world fell in love with this unknown American woman, who was not generally considered beautiful? What was the nature of their relationship? Was she responsible for the Abdication? Many questions remain unanswered. Why did her birth go unrecorded? What were the qualities which so infatuated the Prince of Wales? Why did she never have children? Michael Bloch, who spent ten years as Maitre Blum's assistant is the ideal person to provide this biographical reassessment. In it he dispels much of the mystery that has surrounded her, and paints a vivid portrait of a courageous, glamorous and unusual individual - perhaps in some ways not a woman at all.

    The composer brings the Imperial Russia of his childhood vividly into focus, at the same time scanning what were at the time the brave new horizons of Boulez and Stockhausen with extraordinary acuity.Stravinsky answers searching questions about his musical development and recalls his association with Diaghilev and the Russian Ballet. There are sympathetic and extraordinarily illuminating reminiscences of such composers as Debussy and Ravel ('the only musicians who immediately understood Le Sacre du Printemps'), while mischievous squibs are directed at others, most notably perhaps against Richard Strauss, all of whose operas Stravinsky wished 'to admit ... to whichever purgatory punishes triumphant banality'.The conversations are by no means confined to musical subjects, ranging uninhibitedly across all the arts: Stravinsky gives unforgettable sketches of Ibsen, Rodin, Proust, Giacometti, Dylan Thomas and T S Eliot.'The conversations between Igor Stravinsky and Robert Craft are unique in musical history. The penetration of Craft's questions and the patience and detail of Stravinsky's answers combine to produce an intimate picture of a man who has sometimes puzzled, often delighted, and always intrigued ...' The Sunday Times

    Musical Theatre: A History presents a comprehensive history of stage musicals from the earliest accounts of the ancient Greeks and Romans, for whom songs were common elements in staging, to Jacques Offenbach in Paris during the 1840s, to Gilbert and Sullivan in England, to the rise of music halls and vaudeville traditions in America, and eventually to "Broadway's Golden Age" with George M. Cohan, Victor Herbert, Jerome Kern, George and Ira Gershwin, Rodgers and Hart, Oscar Hammerstein, Leonard Bernstein, and Andrew Lloyd Webber. The 21st century has also brought a popular new wave of musicals to the Broadway stage, from The Producers to Spamalot, and Mamma Mia! to The Drowsy Chaperone. Musical Theatre: A History covers it all, from the opening number to the curtain call, offering readers the most comprehensive and up-to-date history of the art form. As informative as it is entertaining, Musical Theatre is richly illustrated with anecdotes of shows and show people. It is cause for celebration for those working in the theatre as well as its legion of devoted fans.

    As a young man, voraciously addicted to drugs and sex, with men as much as women, marriage and parenthood for the impetuously wayward playboy prince, with his night-clubbing lifestyle and intimate liaisons, was seen as the only stabilizing influence. Enter the stylish and sophisticated Princess Marina, the cultured, artistic and multilingual youngest daughter of Prince Nicholas of Greece and his Russian-born wife, Grand Duchess Yelena Vladimirovna. As Duke and Duchess of Kent, George and Marina were the Crown’s most glittering representatives, not least in the aftermath of the Abdication of George’s adored elder brother, the briefly-reigned King Edward VIII; the man with whom he had not only shared both home and high-flying lifestyles, but who had helped cure him of his addiction to morphine and cocaine.On and off duty, the Duke and Duchess lived life to the full, and after George’s untimely death, Marina continued to do so during the twenty-six years of her widowhood. Revisiting his 1988 best-selling biography, George and Marina: Duke and Duchess of Kent, Christopher Warwick, in this revised and partly re-written study, tells their story anew.

    Afterward, the two friends spent the day together touring the streets of Manhattan, from midtown to the South Street Seaport. Capote tells of their exploits on that afternoon, presenting a wry, insightful, and very human portrait of the actress who at this point in her career had become in his words "a platinum sex explosion."

    Combing through her stories, poems, articles, reviews, correspondence, and even her rare journalism and song lyrics, editor Barry Day has selected and arranged passages that describe her life and its preoccupations-urban living, the theater and cinema, the battle of the sexes, and death by dissipation. Best known for her scathing pieces for the New Yorker and her membership in the Algonquin Round Table ("The greatest collection of unsaleable wit in America."), Parker filled her work with a unique mix of fearlessness, melancholy, savvy, and hope. In Dorothy Parker, the irrepressible writer addresses: her early career writing for magazines; her championing of social causes such as integration; and the obsession with suicide that became another drama ("Scratch an actor...and you'll find an actress."), literature ("This is not a novel to be tossed aside lightly. It should be thrown with great force.") and much more.

    A classical muse appears, and the young woman becomes the goddess Athena--a tireless advocate for Odysseus in his struggle to get home. With her trademark irreverent and witty twist on classic works, Zimmerman brings to life the story of Odysseus's ten-year journey, depicting his encounters with characters such as Circe, the Cyclops, Poseidon, Calypso, the Sirens, and others.

    We see his difficult relationship with his father, Hamet, and the roots of the defiant spirit that fueled Nureyev's unquenchable desire to dance until his final days.

    But it sets the stage by looking into Mahler’s earlier career as a talented, ambitious, and often ruthless conductor.In her memoirs Alma drew Mahler as a sickly, cerebral recluse. Arnold Schoenberg called him a "saint." Leonard Bernstein, largely responsible for the Mahler "boom" in the Sixties, found a "secret shame" at the heart of Mahler’s music, "the shame of being a Jew and the shame of being ashamed." Jonathan Carr looks behind these myths, and using letters, diaries, and other material hitherto unavailable in English, he brilliantly challenges some of the most widely held assumptions about Mahler.

    Demons outside. Phoenix, Cee Cee and Ashley have had an interesting past, to say the least. After meeting under extremely contentious circumstances over a year ago, they successfully navigated the rocky waters of a three way relationship. Three alpha personalities all vying for a level of success that entailed countless sacrifices: A powder keg waiting to explode. Thankfully, the strength of their love (and sheer physical passion) won out over professional desires, and they landed softly in a beautiful new home where they have spent every free moment making love and sharing the most beautiful relationship they've ever experienced. But the unquenchable desire to prove themselves still lies dormant, waiting to spill over into the idyllic existence that they've carved out for themselves in their new home. And there are other dangers, too. Twisted people, bent on revenge and with seemingly nothing to lose, are always waiting to disrupt and ultimately destroy what our happy trio has worked so hard to build up. Follow these three brave lovers once again through a story of dramatic tension, intensely sinful lovemaking and more than one close brush with mortality! The two books included here combine into a complete MMF Bisexual Romance set with an HEA ending and no cliffhangers! There is no need to buy anything else to get the complete experience.

    In this beautifully written memoir, the Pulitzer Prize–winning journalist chronicles the journey he took to forgiveness, which brought him straight to the place that evoked his happiest memories of his mother: the kitchen. Recounting the pleasures of his early days, culinary and otherwise, McAllester weaves an unforgettable tale of family, food, and love. BITTERSWEET: LESSONS FROM MY MOTHER’S KITCHENAt first, Matt McAllester’s childhood was idyllic, a time when his mother placed heavenly, delicious food at the center of a family life brimming with fun and laughter. Then came the terrible years, years when he had to watch helplessly as his warm, quick-witted mother succumbed to an illness that was never properly diagnosed or understood. Desperate to escape, he eventually found work as a foreign correspondent, hiding in the terrors and tragedies of other people as he traveled to the most dangerous places in the world, from Beirut to Baghdad. But nothing he saw on the battlefield prepared him for his mother’s death—and his own overwhelming grief.In the weeks and months that followed, Matt found himself poring over old family photos and letters, trying to reach out for the beautiful, caring woman who had now vanished for the second time. But as he looked anew at her long-cherished collection of cookbooks, it occurred to him that the best way to find her was through something they both loved: the food she had once lovingly prepared for him, food that introduced him to a thousand sources of joy—from spare ribs to the homemade strawberry ice cream that seemed in memory the very essence of happy times.With a reporter’s precision and a storyteller’s grace, McAllester guides us through a long season of grief—cooking, eating, and remembering—at the same time describing his and his wife’s efforts to conceive and nourish a child of their own. Complete with recipes to delight body and soul, Bittersweet is a memoir of extraordinary power, at once a moving tribute to his mother and a dazzling feast for the senses.