Lloyd, who lives with Mae, spends his time caring a little too much for the farm animals; he scorns to learn from a book, and treats Mae with angry disrespect. When Lloyd becomes ill, Mae goes searching for a diagnosis, and brings their simple, yet eloquent, neighbor Henry home with her, in order to help her read the difficult medical language. The ensuing love / hate triangle that brews between the three creates a toxic environment, and Mae, whose love and respect for Henry turn to impatience and resentment after an accident renders him helpless, determines that to escape the ill-luck of her life, she must escape the men who depend upon her.

    A wily cat, a strange romance, detestable daughters: the great American poet Marianne Moore retells three stories originally written by Charles Perrault to amuse the niece of Louis XIV.Modern readers may be surprised to find that the prince does not wake Sleeping Beauty with a kiss - the more he cares, the less willing he is to intrude - and that his mother is descended from ogres.Characterised by vivid imagery, uncluttered prose, inventive alliteration and a sly sceptic's wit, Moore's versions do more than tell a tale: 'Having seen a problem solved,' she writes, each one leaves 'a pattern of order in the mind.'Bringing together past, present and future in our ninetieth year, Faber Stories is a celebratory compendium of collectable work.

    Unable to understand each other, they embarked on one of the most unusual experiments in British art as the pitmen learned to become painters. Within a few years the most avant-garde artists became their friends, their work was taken for prestigious collections and they were celebrated throughout the British art world; but every day they worked, as before, down the mine.The Pitmen Painters premiered at Live Theatre, Newcastle-upon-Tyne, in September 2007, before transferring to the National Theatre in 2008.

    Hughes's Oresteia is quickly becoming the standard edition for English-language readers and for the stage, too.

    Nabokov tells us in "The Waltz Invention" that our salvation today rests on a perfect understanding of the human heart. "The Waltz Invention," written when only a handful of scientists were concerned with atomic possibilities, could have been read as a puzzling, incredible fantasy in those days, but of course today a man like Waltz is at the center of our nightmares. We had better have a realistic understanding especially of a tyrant's heart in our fissionable age, MR. Nabokov says. Salvator Waltz is in possession of an infernal machine. He can operate it at will; and the machine is hidden away from all eye in the symbolical country of which Waltz is a citizen. With the same intricate levels of brilliancy as Vladimir Nabokov's other world acclaimed tales, "The Waltz Invention" write in a play form in 1938, is a classic tragedy and a comedy.

    Pavle leaves town to think things over. Weeks later, a deformed corpse is found washed up on the banks of the Danube and is identifed to be that of Pavle. The case is judged a suicide. Three years later, Pavle, now "the deceased," unexpectedly returns. He discovers that his heirs have not only plundered his estate, but also refuse to recognize him as being "legally" alive, and they unite to keep him "dead" to maintain the status quo. This is the first English translation of a masterful and darkly comic play that will enter its rightful place as a world classic. The fluid and natural translation lends itself to theatrical production. Comically absurd, filled with existential angst, it was ahead of its time in 1937. At once vaudevillian and modernist, it is distinguished by clever plotting and stinging dialogue. The play stands as a lasting and caustic satire of human greed, strangely consonant with todays society.

    Oroonoko’s noble bearing soon wins the respect of his English captors, but his struggle for freedom brings about his destruction. Inspired by Aphra Behn’s visit to Surinam, Oroonoko (1688) reflects the author’s romantic view of Native Americans as simple, superior peoples 'in the first state of innocence, before men knew how to sin’. The novel also reveals Behn’s ambiguous attitude to African slavery – while she favoured it as a means to strengthen England’s power, her powerful and moving work conveys its injustice and brutality.This new edition of Oroonoko is based on the first printed edition of 1688, and includes a chronology, bibliography and notes. In her introduction, Janet Todd examines Aphra Behn’s views of slavery, colonization and politics, and her position as a professional woman writer in the Restoration.Prose:The Fair JiltOroonokoLove-Letters to a GentlemanPlays:The RoverThe Widow RanterPoems:Love ArmedEpilogue to Sir Patient FancyThe DisappointmentTo Mr. Creech (under the name of Daphnis) on his excellent translation of LucretiusA letter to Mr. Creech at Oxford, written in the last great frostSong: On her loving two equallyTo the fair Clarinda, who made love to me, imagined more than womanOn Desire: A PindaricA Pindaric poem to the Reverend Doctor Burnet

    This English edition includes the plays Caligula, The Misunderstanding (Le Malentendu), State of Siege (L'État de siège), and The Just Assassins (Les Justes).

    The resonance of this image grows through each section of the book as Hahn skillfully employs theme and variation, counterpoint and mirroring techniques. The ibis first appears as part of an illusion, the disappearing object in a magician’s trick, which then evokes the greatest disappearing act of all—death—where there are no tricks to bring about a reappearance. The rich complexity multiplies as the second section focuses on a disappearing lady and a dramatic final section brings together the bird and the lady in their common plight—both caged by their mortality, their assigned time and role.  All of the illusions fall away during this brilliant denouement as the two voices share a dialogue on the power of metaphor as the very essence of poetry. bird trick iv It’s all about disappearance. About a bird in a cagewith a mirror, a simple twiston the handle at the sidethat makes it come and go at the magician’s insistence. It’s all about innocence.It’s all about acceptance.It’s all about compliance.It’s all about deference.It’s all about silence. It’s all about disappearance.

    

    To find the bird, Mytyl and Tyltyl quest through the Land of Memory to the Palace of Night. The children get help from the good fairy Bérylune.

    Includes: "The Oresteia" - Aeschylus; "Prometheus Bound" - Aeschylus; "Oedipus the King" - Sophocles; "Antigone" - Sophocles; "Medea" - Euripides; "The Bakkhai" - Euripides; "Oedipus" - Seneca; "Medea" - Seneca.

    Bitter rivalries. Jealousy. Betrayals. Star-crossed lovers. When you consider all these plot points, it's pretty surprising William Shakespeare didn't write Mean Girls. But now fans can treat themselves to the epic drama--and heroic hilarity--of the classic teen comedy rendered with the wit, flair, and iambic pentameter of the Bard. Our heroine Cady disguises herself to infiltrate the conniving Plastics, falls for off-limits Aaron, struggles with her allegiance to newfound friends Damian and Janis, and stirs up age-old vendettas among the factions of her high school. Best-selling author Ian Doescher brings his signature Shakespearean wordsmithing to this cult classic beloved by generations of teen girls and other fans. Now, on the 15th anniversary of its release, Mean Girls is a recognized cultural phenomenon, and it's more than ready for an Elizabethan makeover.

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    The novel’s elusive narrative thread ties landscape to character to an expanse just beyond our grasp. The narrator encounters a shepherding family and glimpse by glimpse, each family member and the shepherding way of life is revealed to us. The novel culminates in a large shepherds’ gathering where a traditional Shepherd’s Play—a kind of creation myth that includes in its cast The River, The Sea, The Man, and The Mountain—is enacted. The work’s proto-environmental world view as well as its hybrid form—part play, part novel—makes The Serpent of Stars astonishingly contemporary. W.S. Merwin’s "Green Fields" begins, "By this part of the century few are left who believe in the animals for they are not there in the carved parts/of them served on plates and the pleas from slatted trucks..." This novel leaves the reader believing not only in the animals, but the terrain they are part of, the people who tend them, and the life all these elements together compose.