He is sent to Italy by a wealthy financier to try and coax home the rich man's son. In the process Ripley becomes both attracted and seduced, finding the murder the only way to deal with the situation. From that point Ripley tries to cover up his crime. Patricia Highsmith's beguiling tale of morality and amorality is given a dramatic rendering by contemporary dramatist Phyllis Nagy, who knew Highsmith in her later years in Paris."Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)

    and this book's fun-loving family is out to discover all the wonderful signs of the beautiful Fall season. Join in their antics as they shake and rhyme their way to a surprise ending that is sure to delight readers of all ages. There's even a couple of wisecracking squirrels to keep the laughs coming as the pair frolic through the pages telling jokes that will "leaf" you "fall"ing over into a great big pile of chuckles.

    Stella's friends assume she doesn't have any problems of her own and deluge her with their woes. Abigail, deserted by her husband, moves in with Stella, but then starts to move in on Stella's husband.

    Although they initially take the city of light by storm, they soon discover that the glittering facade of social success hides a multitude of sins and iniquities while their own dark secrets could well destroy everything that they have worked so hard to achieve...Based on The Buccaneers by Edith Wharton, Before the Storm is a tale of passion, betrayal and true love set against the backdrop of the opulent and often treacherous worlds of Georgian London, Versailles and Revolutionary Paris.‘It was a blissfully warm day. The worst of the heat wave was now over and a light flower scented breeze blew leaves into the pavilion where the party drowsily lazed against cushions, idling listening as Eugène d’Aigueville played his guitar, his eyes fixed on Venetia, who smiled lazily back at him.Comte Edmond reclined in between Phoebe and Eliza, none of them spoke but the air around them shimmered with tension as both girls subtly did their best to claim his attention for themselves. Phoebe had long since realised that she was fighting a losing battle though and that although he very much enjoyed flirting with her, it was Eliza that he looked for first whenever he walked into a room.Eliza did not share this view though and kept thinking about Venetia’s wedding day when Phoebe, radiant with sexual confidence had told her that she wouldn’t let her chastity stand in the way of making a good match for herself. She curled her hands into fists every time Comte Edmond and her friend left the room together and tried not to think about what they might be doing. He’d tried to kiss her once, but she’d shoved him away. Perhaps that was a mistake? She looked across at him now as he gazed up at Phoebe and her heart sank.‘Who is that woman?’ Phoebe said suddenly, shielding her blue eyes as she looked back towards the house.Venetia followed her gaze and gave a nervous laugh. ‘It’s your landlady, Eliza,’ she said, with a quick look at Edmond, who immediately sat up and automatically began to retie his loosened cravat. ‘Madame de Saint-Georges.’They all stood up and instinctively, Eliza, Phoebe and Venetia stood close together as Corisande de Saint-Georges hurried across the lawn towards them. She had dressed to impress in a shimmering, rich lace trimmed blue and white striped silk gown, with wide skirts pulled back from flounced flower sprigged white silk underskirts. A huge muslin fichu was arranged around her shoulders and on her elaborately curled, ringleted and backcombed powdered hair was a vast ribbon and flower bedecked white straw hat.‘Goodness me, she really means business,’ Venetia murmured as they watched this vision of elegance and high fashion approach. She looked back over her shoulder at Edmond, who was standing uneasily behind them, looking as if he desperately wished he could run away. ‘I wonder what she wants?’

    There she finds the courage to face the consequences of her choices?her precarious finances, her alienated college-age son, and the man she left behind.Will Harmon also puts his old life behind him, arriving in East Hope to run the local used bookshop. As he questions his desires and struggles with his failing marriage, Will yearns for the wisdom to do what is right.Then Caroline walks into Will's bookstore, and they establish a tentative friendship?with the promise of something more. As they seek to rescue what is most important in their lives, they cling to a distant hope?for understanding, for family, and for love.

    This award-winning collection moves from the dark and technically astonishing title essay—on growing up within the confines of a huge Army arsenal in Ohio—to reflections on mountain hikes, limestone quarries, and fathers teaching their sons.

    In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing.

    This play, translated from the original Marathi, is one of his most gripping, socially relevant ones.

    In this her latest collection of essays she explores the story-telling impulse, and asks how she, as a product of postmodernism, can reconnect to the primal act of making meaning and telling stories. She also asks how theatre practitioners can think of themselves not as stagers of plays but orchestrators of social interactions and participants in an on-going dialogue about the future.We dream. And then occasionally we attempt to share our dreams with others. In recounting our dreams we try to construct a narrative... We also make stories out of our daytime existence. The human brain is a narrative creating machine that takes whatever happens and imposes chronology, meaning, cause and effect... We choose. We can choose to relate to our circumstances with bitterness or with openness. The stories that we tell determine nothing less than personal destiny. (From the introduction)This compelling new book is characteristically made up of chapters with one-word titles: Spaciousness, Narrative, Heat, Limits, Error, Politics, Arrest, Empathy, Opposition, Collaboration and Sustenance. In addition to dipping into neuroscience, performance theory and sociology, Bogart also recounts vivid stories from her own life. But as neuroscience indicates, the event of remembering what happened is in fact the creation of something new."

    Many have large casts and an equal mix of boy and girl parts. Set in the Malayan jungle in 1942, this play explores what happens when soldiers have to confront the reality of war.

    Overseas, war is raging in Vietnam, Civil Rights marches are on the streets, and women’s liberation is stirring – but at home in Corrigan Charlie Bucktin dreams of writing the Great Australian Novel. Charlie’s 14 and smart. But when 16-year-old, constantly-in-trouble Jasper Jones appears at his window one night, Charlie’s out of his depth. Jasper has stumbled upon a terrible crime in the scrub nearby, and he knows he’s the first suspect – that goes with the colour of his skin. He needs every ounce of Charlie’s bookish brain to help solve this awful mystery before the town turns on Jasper. Kate Mulvany’s adaptation of Craig Silvey’s award-winning novel is wise and beautiful. A coming-of-age story, Jasper Jones interweaves the lives of complex individuals all struggling to find happiness among the buried secrets of a small rural community.Whether you know the book or not, this piercing adaptation is very much worth seeing for the way it depicts – and shows ways across – some of the deep and enduring divides in our society." - Jason Blake SMH

    Madeleine Schier heeds her husband's panicked call and runs home, only to witness his brutal murder by a crime boss and become a target herself. Under police security, she vows to testify. But when the police protecting her are killed, the last of her NYC life disintegrates, leaving her no place to hide. She flees, relying on her wits and imagination to survive on a dangerous journey to become someone else. Who can she trust? The helpful widower who advises her on farming? The damaged recluse who's always near? The neighbor who brings cherry pie? With the murderer still searching, one wrong move could be her last.

    From vast deserts to an Indonesian fishing boat, a slow train through Burma to an armed confrontation in Laos, lullabies from middle-aged Chinese businessmen to a cold night on the Great Wall, wolves and reindeer herders, thieves and nomads: this is a vivid illustration of Asia and the people who live there, and of one ancient, stubborn motorcycle travelling through the world's wild places.

    She is in love with young Artashes Otaryan, son of Elizbarov's late companion. Soon Artashes reveals to her the secret that his family has kept for years -- Elizbarov had stolen the fortune of his former companion; as a proof he presents to her Elizbarov's letters to his father. Margarita is appalled by her father's loss of honor, and is torn between her duty as a daughter and her sense of right and wrong.

    George Orwell's prophetic, nightmarish vision of "Negative Utopia" is timelier than ever-and its warnings more powerful in this three-act adaptation.