Here, in the dizzying heat of August 1939, five cousins have gathered at their aunt's house for their annual ritual of a holiday. For most of them it is the last summer of their youth, with the heady exhilarations and freedoms of lost innocence, as well as the fears of the coming war.The Camomile Lawn moves from Cornwall to London and back again, over the years, telling the stories of the cousins, their family and their friends, united by shared losses and lovers, by family ties and the absurd conditions imposed by war as their paths cross and recross over the years. Mary Wesley presents an extraordinarily vivid and lively picture of wartime London: the rationing, imaginatively circumvented; the fallen houses; the parties, the new-found comforts of sex, the desperate humour of survival - all of it evoked with warmth, clarity and stunning wit. And through it all, the cousins and their friends try to hold on to the part of themselves that laughed and played dangerous games on that camomile lawn.

    Jo's greatest fear is that her illegitimate baby might be mentally deficient like her own father. To soothe, clean and cook for her is Geof, an effeminate art student, with whom she makes a temporary home. Bruised by insensitivity and rejection, the boy and girl find a very real comfort in each other.

    Memories of her life still glow in her fading consciousness, but she imagines writing a history of the world. Instead, Moon Tiger is her own history, the life of a strong, independent woman, with its often contentious relations with family and friends. At its center — forever frozen in time, the still point of her turning world — is the cruelly truncated affair with Tom, a British tank commander whom Claudia knew as a reporter in Egypt during World War II.

    It is the source of Sartre's especially famous and often misinterpreted quotation "L'enfer, c'est les autres" or "Hell is other people", a reference to Sartre's ideas about the Look and the perpetual ontological struggle of being caused to see oneself as an object in the world of another consciousness.

    She dies before she can draw her first breath. On that same cold and snowy night, Ursula Todd is born, lets out a lusty wail, and embarks upon a life that will be, to say the least, unusual. For as she grows, she also dies, repeatedly, in a variety of ways, while the young century marches on towards its second cataclysmic world war. Does Ursula's apparently infinite number of lives give her the power to save the world from its inevitable destiny? And if she can - will she?

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    L. Carr's deeply charged poetic novel, Tom Birkin, a veteran of the Great War and a broken marriage, arrives in the remote Yorkshire village of Oxgodby where he is to restore a recently discovered medieval mural in the local church. Living in the bell tower, surrounded by the resplendent countryside of high summer, and laboring each day to uncover an anonymous painter's depiction of the apocalypse, Birkin finds that he himself has been restored to a new, and hopeful, attachment to life. But summer ends, and with the work done, Birkin must leave. Now, long after, as he reflects on the passage of time and the power of art, he finds in his memories some consolation for all that has been lost.

    Her short story, "A Jury of Her Peers", was adapted from the play a year after its debut. It was first performed by the Provincetown Players at the Wharf Theatre in Provincetown, Massachusetts on August 8, 1916. In the original play, Glaspell played the role of one of the characters, Mrs. Hale. It is frequently anthologized in American literature textbooks. The play begins as the county attorney, the sherrif, Mr. Hale, Mrs. Peters, and Mrs. Hale enter the Wright's empty farm house. On prompting from the county attorney, Mr. Hale recounts his visit to the house the previous day, when he found Mrs. Wright behaving strangely and found her husband upstairs with a rope around his neck, dead. Mr. Hale notes that, when he questioned her, Mrs. Wright claimed that she was fast asleep when someone strangled her husband.Often hailed as one of the quintessential feminist plays, 'Trifles' earned Glaspell a Pulitzer Prize and renewed literary recognition.

    John Galsworthy, a Nobel Prize-winning author, chronicles the ebbing social power of the commercial upper-middle-class Forsyte family through three generations, beginning in Victorian London during the 1880s and ending in the early 1920s.

    With this act of violence--which is loosely based on the notorious 1955 killing of Emmett Till--James Baldwin launches an unsparing and at times agonizing probe of the wounds of race. For where once a white storekeeper could have shot a boy like Richard Henry with impunity, times have changed. And centuries of brutality and fear, patronage and contempt, are about to erupt in a moment of truth as devastating as a shotgun blast.In his award-winning play, Baldwin turns a murder and its aftermath into an inquest in which even the most well-intentioned whites are implicated--and in which even a killer receives his share of compassion.

    Father and son were at chess, the former, who possessed ideas about the game involving radical changes, putting his king into such sharp and unnecessary perils that it even provoked comment from the white-haired old lady knitting placidly by the fire. "Hark at the wind," said Mr. White, who, having seen a fatal mistake after it was too late, was amiably desirous of preventing his son from seeing it. "I'm listening," said the latter, grimly surveying the board as he stretched out his hand. "Check." "I should hardly think that he'd come to-night," said his father, with his hand poised over the board.

    More than in any of his other plays, Strindberg explores this theme in depth in The Father.In exploring the emotionally charged battle of the sexes and the clashes between scientific and religious convictions, The Father vividly delineates the essential quality of a man’s relationship with his wife and his daughter. The problem of paternity, trivial at the outset, develops into marital upheaval and a no-holds-barred struggle between man and woman.Widely regarded as one of Strindberg's best literary efforts, The Father remains one of the most gripping psychological dramas of the theater.

    Alternate cover edition can be found here, here, here, hereIn the Oresteia—the only trilogy in Greek drama which survives from antiquity—Aeschylus took as his subject the bloody chain of murder and revenge within the royal family of Argos.Moving from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, their spirit of struggle and regeneration becomes an everlasting song of celebration.

    An eminent—and initially unsympathetic—QC takes on the case, and the boy has to withstand the full might of the Royal Naval Establishment seeking to discredit him.

    Into this peaceful scene put the prosperous, despotic Hubbard family - Ben, possessive and scheming; Oscar, cruel and arrogant; Ben's dupe, Leo, weak and unprincipled; Regina wickedly clever - each trying to outwit the other. In this melodrama, only Regina wins.