Or read this book and find out how you have all the tools you need, but must make the one change to become the writer you have always wanted to be.

    

    His most celebrated work, Six Characters in Search of an Author, embodies the Nobel Prize-winning playwright's innovations by presenting an open-ended drama on a stage without sets.First performed in 1923, this intellectual comedy introduces six individuals to a stage where a company of actors has assembled for a rehearsal. Claiming to be the incomplete, unused creations of an author's imagination, they demand lines for a story that will explain the details of their lives. In ensuing scenes, these "real-life characters," all professing to be part of an extended family, produce a drama of sorts — punctuated by disagreements, interruptions, and arguments. In the end they are dismissed by the irate manager, their dilemma unsolved and the "truth" a matter of individual viewpoints.A tour de force exploring the many faces of reality, this classic is now available in an inexpensive edition that will be welcomed by amateur theatrical groups as well as by students of drama.

    Each volume helps the reader to encounter the original more fully by placing it in historical context, focusing on the important aspects of the text and posing key questions.

    He enlists the aid of his lifelong buddy, Aldo Scalicki, a confirmed bachelor who tries, without apparent success, to convince Huey that he would be better off sticking with his new lady friend, Teresa, a usually placid young waitress whose indignation flares when she learns what Huey is up to. In a moonlit balcony scene (hilariously reminiscent of Cyrano de Bergerac) Aldo pleads his lovesick friend's case and, to his astonishment, Janice capitulates although not for long. However we do learn that her earlier abuse of Huey was intended to make him "act like a man" which, at last, he does. And, more than that, he (and the audience) become aware that, in the final essence, "the greatest and only success is to be able to love" a truth which emerges delightfully from the heartwarming, wonderfully antic and always imaginatively conceived action of the play.

    

    Each character in the house represents some facet of British society, Mangan being the nouveau riche capitalist, Hesione the flighty Bohemian, Ellie a struggling member of the lower class and so on.One of Shaw's most important and evident themes is reality versus appearances. By the end of the play, each character is revealed to be nothing like who they appeared to be in the beginning. Mangan, who was reported to be "a Napolean of industry" is revealed in the third act to be virtually penniless and incapable of running his own businesses. It is in fact Mazzini who runs Mangan's businesses although he at first appears mild and incompetent.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

    The deceptive, crooked path that led him to today began a few months back. Born and raised in Baltimore, Maryland, nineteen-year old Fleming was a professional baseball pitcher with the Chicago White Sox. His successful first year in the minor leagues was waylaid when he received his draft notice. Through a series of misadventures, he ended up enlisting for four years in an elite unit called the A.S.A. or Army Security Agency; the army’s equivalent to the N.S.A. or the National Security Agency. Once in the army, Fleming learned that the recruiter had manipulated him with a host of untruths. Then, to his dismay, he learned that the army had lost his orders and he was placed in an infantry unit. Once in Vietnam, Platoon Sergeant, Levine questioned Fleming and dragged out of him the sad story of how he had enlisted for four years and ended up in an infantry unit. He became the butt of the platoon’s jokes and underwent vicious ribbing by the other platoon members. That day, the platoon was ordered back to their base camp: L.Z. English. Before leaving, they endured a mortar attack and then a ground probe. Fleming’s foxhole mate was critically wounded. Fleming did everything he could to save the man but his wounds were too severe and he died in Fleming’s arms. Repulsed by the ordeal, Fleming was left wondering if he could endure a whole year of this. Twelve-year old Van Phan Duc and his two friends twelve-year old Hoi Anh Vanh and Dan Tri Quang lived happily in their village until the day a N.V.A. invaded and forced them to join their struggle and fight the invading Americans. They were then assigned to a Viet Cong unit where they met Sergeant Chi, the man who would train them to be soldiers for the revolution and lead them into battle. Three American soldiers had been captured. Chi ordered the three boys to participate in brutally torturing the Americans. Dan embraced the torture and it turned him into a brutal fighting machine, much to Chi’s satisfaction. On the other hand, Hoi was repulsed by the events and a part of him died that day. He performed the torture but it wasn’t to Chi’s satisfaction. Van, a devout Buddhist, was also repulsed. He realized that life, as a soldier was three hundred and sixty degrees opposite of Buddha’s spiritual path. The 173rd’s area of operations was the Central Highlands. The 173rd’s home base was in and around the town of Bong Son, but they patrolled all over the province of Binh Dinh. For the next few months, Fleming and Van’s units met on numerous occasions. The first time they engaged each other in combat was in a simple ambush that lasted only two minutes. Both men were left repulsed by the carnage that could take place in only two minutes. Right after the ambush, Fleming’s company was deployed in a battalion-sized operation located in the Dak To mountain range. It was an area where numerous North Vietnamese soldiers infiltrated into South Vietnam from neighboring Cambodia and Laos. Fleming’s company was dropped into an area far from Dak To and the men were forced to march (hump) to their final destination. During the trek, they had to carve their way through impenetrable jungle and cross leach infested rivers to reach their destination, all the while suffering under Vietnam’s oppressive heat. Van’s Viet Cong unit was sent to the Dak To mountain range to do battle with Fleming and his company. Months passed with Van and Fleming’s units constantly meeting. Both men had similar personalities. Both men overcame their initial shock at war’s brutality and became highly competent soldiers who bravely fought the enemy. Both men were ultimately made into squad leaders. Both men continued to hate the war, yet were entrapped in the insanity that was war. They both recognized what war was—a brutally insane series of events where lives were lost and where dreams died.

    

    His adventures lead him into the world of the wealthy and dissipated yachtsmen who throng the region, and involve him in a strange and unlikely love affair.Harshly realistic, yet with one of the most subtle and moving relationships in the Hemingway oeuvre, To Have and Have Not is literary high adventure at its finest.

    Ramanan is dramatic pastoral elegy and it is beautifully illustrated by Artist Madanan.

    

    Although the novel's complex and fragmented structure poses considerable difficulty to readers, the book's literary merits place it squarely in the ranks of America's finest novels. The story concerns Thomas Sutpen, a poor man who finds wealth and then marries into a respectable family. His ambition and extreme need for control bring about his ruin and the ruin of his family. Sutpen's story is told by several narrators, allowing the reader to observe variations in the saga as it is recounted by different speakers. This unusual technique spotlights one of the novel's central questions: To what extent can people know the truth about the past?

    It is October in the year 1675. New England trader, Tobias Hopkins, arrives in Jamaica to discover the truth about his missing father. It transpires that, not only has the man been dead for six years, but he has left Toby with a half-brother and the clue to an inheritance which promises to change the course of their lives. However, Toby's inquiries have attracted the attention of others who will stop at nothing to achieve their aims. Will the cryptic message written by his father lead him to a promised fortune, or will it lead him into the hands of those who aim to destroy him? Haunted by nightmares from his past, Toby continues with his quest. But who can he trust? His faithful associate, John? the astute businesswoman Elizabeth? or Magdalena, mother of his half-brother Eduardo? Some of those around him are not what they seem to be, and it soon becomes clear that Toby and those closest to him are in imminent danger. His quest leads him to the Island of Nevis where he reaps the fruits of his search. All appears well until he travels to Virginia. It is only at this point that Tobias Hopkins is forced to face the consequence of his actions.