An invaluable reference source.

    For all of them, try as they might to escape it, the past remains a constant presence. From the run-down despair of Robert's dying inner London parish to the yearnings for love and physical contact of the city's social outcasts - and from the money-driven hubris of Manhattan's financial elite to the home-spun wisdom of rural New England - The Other Side of Loss is a modern-day parable of loss and redemption, of despair and triumph, of human weakness and the life-affirming salvation of human strength in all its meanings. 'Any novel that weaves a high-tension narrative out of two priests, prostitution, and a lottery ticket has to keep you turning the pages.' Gyles Brandreth 'Zounds! Not since Mary Shelley wrote Frankenstein has a more colourful story come from a more surprising source. Tom Vaughan is a very imaginative soul.' George Butler, film producer, The Endurance, Roving Mars, Tiger Tiger

    With bracing directness and aphoristic authority, one of our greatest living playwrights addresses the questions: What makes good drama? And why does drama matter in an age that is awash in information and entertainment? David Mamet believes that the tendency to dramatize is essential to human nature, that we create drama out of everything from today’s weather to next year’s elections. But the highest expression of this drive remains the theater.          With a cultural range that encompasses Shakespeare, Bretcht, and Ibsen, Death of a Salesman and Bad Day at Black Rock, Mamet shows us how to distinguish true drama from its false variants. He considers the impossibly difficult progression between one act and the next and the mysterious function of the soliloquy. The result, in Three Uses of the Knife, is an electrifying treatise on the playwright’s art that is also a strikingly original work of moral and aesthetic philosophy.

    Terrorists bomb a hotel in Tokyo, but the reverberations are felt around the world. A high ranking Kremlin diplomat is assassinated. A building in Kiev blows up. Russia begins to amass forces along its western borders. Former Army intelligence officer Dan Reilly, now an international hotel executive with high level access to the CIA, believes the plot is much bigger than anyone imagines, involving the empire-building, Putin-esque president of Russia. Reilly begins a globe-hopping search for answers as the clock ticks down to a climactic event in Brussels that threatens NATO and the very security of member nations. Red Hotel weaves his experiences into an incredibly timely globe-trotting thriller that's fiction on the edge of reality.

    Stanislavski's simple exercises fire the imagination, and help readers not only discover their own conception of reality but how to reproduce it as well.

    At thirty-one, she spends a summer in Greece; there, alone on a tranquil island, she begins writing stories about her grandmother’s experiences in 1940s Egypt, her mother’s youth in 1960s Greece, and finally, her own life in contemporary America—trying to make sense of her future by exploring the past. Spanning Thair’s life from thirty-one to thirty-six, The Greek Persuasion explores human sexuality, the complexity of mother-daughter relationships, and the choices women of different generations make when choosing—or settling—for “Mr. (or Ms.) Good Enough.” Will Thair ever find that missing part of her that Zeus chopped off with his magic sword? Or is the concept of The One just one big fairy tale that has left her searching for someone who doesn’t exist?

    When the movie was released in 1939 by MGM, few could have foreseen that it would retain such enduring appeal. Yet over 60 years on, a third generation is being raised on Dorothy's adventures with the Scarecrow, the Tin Man and the Munchkins. This full version of the original screenplay is for families, schools and children's drama groups to enjoy.

    Her son's biographers have, for the most part, painted her as self-centered and crude, a trial and an obstacle to her oldest child. But the records tell a very different story. Mary Ball, the daughter of a wealthy planter and a formerly indentured servant, was orphaned young and grew up working hard, practicing frugality and piety. Stepping into Virginia's upper class, she married an older man, the planter Augustine Washington, with whom she had five children before his death eleven years later. As a widow deprived of most of her late husband's properties, Mary struggled to raise her children, but managed to secure them places among Virginia's elite. In her later years, she and her wealthy son George had a contentious relationship, often disagreeing over money, with George dismissing as imaginary her fears of poverty and helplessness.Yet Mary Ball Washington had a greater impact on George than mothers of that time and place usually had on their sons. George did not have the wealth or freedom to enjoy the indulged adolescence typical of young men among the planter class. Mary's demanding mothering imbued him with many of the moral and religious principles by which he lived. The two were strikingly similar, though the commanding demeanor, persistence, athleticism, penny-pinching, and irascibility that they shared have served the memory of the country's father immeasurably better than that of his mother. Martha Saxton's The Widow Washington is a necessary and deeply insightful corrective, telling the story of Mary's long, arduous life on its own terms, and not treating her as her son's satellite.

    In Intervals of Cinema, acclaimed philosopher Jacques Rancière looks at cinematic art in comparison to its corollary forms in literature and theatre. From literature, he argues, cinema takes its narrative conventions, while at the same time effacing literature’s images and philosophy; and film rejects theatre, while also fulfilling theatre’s dream.

    In this book, you’ll find a bit of everything including the usual helicopter parents and awful administration, horrendous student behavior with no consequences, and crazy-ass parents and their insane requests. But you’ll also find weirdly entertaining stories about a little kid with a foot fetish, a group of teachers chasing a naked kid around the school parking lot, and two pregnant sisters fighting over the same baby daddy on the first day of school. There’s plenty of gross stuff, like all the strange places kids put their poop and dirty maxi pads, a Barbie in a butthole, and kids who masturbate in class and hump desks. Unlike her other books, Morris included a sprinkling of tales that will break your heart and a few that will give you the warm and fuzzies we all need to keep going. This book is hilarious, shocking, heartwarming, sad, gross, and sometimes inspiring because that is what teaching is really like.

    Here he recounts his life growing up in London. "I learned very early in my life that nothing was forever; so I should have been aware of disillusion in early middle age: but, somehow, we try to obliterate early warnings and go cantering along hopefully, idiotically. . . ."

    Polanski would go on to become one of the best and most infamous directors in Hollywood’s history, with a list of achievements that includes Repulsion, Rosemary’s Baby, Macbeth, Chinatown, Tess, Frantic, and more recently, the Golden Globe- and Oscar-winning The Pianist.Yet the most dramatic story has unfolded within his own personal life: in August 1969, his pregnant wife Sharon Tate and seven of their friends were butchered by the Manson family. Polanski was in London at the time. Eight years later he was arrested by L.A. police on charges of drugging and raping a 13-year-old girl in Jack Nicholson’s home. Polanski fled the country and has since lived in exile in Paris.The director is currently filming Oliver Twist and promises to follow it with his version of the Tate killings. Both projects, dealing with child exploitation and murder, can only fuel the controversy that surrounds him. This biography is timed to coincide with the release of the movies, and will be the first opportunity to read about this talented yet wildly excessive personality in such depth for over fourteen years.

    Here is the chilling story of a young boy sent to live with relatives after the death of his mother, and of his prankish cousin, who is responsible for increasingly dangerous "accidents".

    The result is a picture which both supports and contradicts the charming vagabond persona depicted in Niven’s own bestselling memoirs.While millions throughout his life were enchanted by Niven’s happy-go-lucky charisma and world-class anecdotage, he was in many respects a private figure, haunted by a fear of failure, and a victim of several key tragedies in his personal life. Morley’s biography is a warm, appreciative but perceptive account which captures both sides of one of Hollywood’s most enduringly lovable figures.‘A compassionate account that goes past the blithe persona … yet, there is much humor—the actor’s and his biographer’s—in this notable book’ Publishers Weekly‘Head and shoulders above the average showbiz biography … He understands many of Niven’s deeper feelings’ John Mortimer, Sunday Times‘A well-told story … the darker side as well as the mask of a complex and perhaps desperate character. He was a life-enhancer off-screen as well as on’ The Times‘Shrewd and pleasing; shows how dark Niven’s moon could be’ Alexander Walker, Evening Standard

    Winner of Best Non-Fiction for 2002 Award from the Los Angeles Times Book Review! Samuel Fuller was one of the most prolific and independent writer-director-producers in Hollywood. His 29 tough, gritty films made from 1949 to 1989 set out to capture the truth of war, racism and human frailties, and incorporate some of his own experiences. His film Park Row was inspired by his years in the New York newspaper business, where his beat included murders, suicides, state executions and race riots. He writes about hitchhiking across the country at the height of the Great Depression. His years in the army in World War II are captured in his hugely successful pictures The Big Red One, The Steel Helmet and Merrill's Marauders . Fuller's other films include Pickup on South Street; Underworld U.S.A., a movie that shows how gangsters in the 1960s were seen as "respected" tax-paying executives; Shock Corridor, which exposed the conditions in mental institutions; and White Dog, written in collaboration with Curtis Hanson ( L.A. Confidential ), a film so controversial that Paramount's then studio heads Jeffrey Katzenberg and Michael Eisner refused to release it. In addition to his work in film, Samuel Fuller (1911-1997) wrote eleven novels. He lived in Los Angeles with his wife and their daughter. A Third Face was completed by Jerome Henry Rudes, Fuller's longtime friend, and his wife, Christa Lang Fuller. "Fuller wasn't one for tactful understatement and his hot-blooded, incident-packed autobiography is accordingly blunt ... A Third Face is a grand, lively, rambunctious memoir." Janet Maslin, The New York Times; "Fuller's last work is a joy and an important addition to film and popular culture literature." Publishers Weekly; "If you don't like the films of Sam Fuller, then you just don't like cinema." Martin Scorsese, from the book's introduction