What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

    He and his crew run the streets of Cleveland, he has an abundance of money, plus all the women love him. But can things get any better for him or can one life changing event turn his entire world into a living nightmare?Juicy is one bad chick. She has the body of a goddess and has enough street smarts to run an entire Drug Empire on her own. She also loves playing Black’s loyal ride-or-die. But when she has had enough what outs does she take to let go before her past shows up and shows out?Tiffany is young and the streets arouses her. She love everything about them, plus she loves being the chosen and known girlfriend of Black. But she quickly learns how hard the street life can be and has to make fast decision, either jump aboard or die. Which will she make?

    If you would prefer to read the unedited articles in their old format for free, we have provided a list of the article titles under "chapters" below. Simply go to Wikipedia and use their search form to locate each individual article.)Chapters: The Queen of the Damned, Interview with the Vampire, The Vampire Lestat, Memnoch the Devil, The Tale of the Body Thief, Interview with the Vampire: The Vampire Chronicles, Those Who Must Be Kept, The Vampire Armand, Blood and Gold, Marius de Romanus, Maharet and Mekare, Pandora, Jessica Miriam Reeves, Khayman, Daniel Molloy, Talamasca Caste, Merrick, Blood Canticle, Vittorio the Vampire, Théâtre des Vampires, Merrick Mayfair, Amel, Blackwood Farm, Mona Mayfair, Avicus, Santiago.

    It was only when Max Ophuls made his famous film in 1950 that the work became better known as La Ronde. Now David Hare has reset these circular scenes of love and betrayal in the present day, with a cast of two actors playing a succession of characters whose sexual lives enmesh like a daisy chain. The Blue Room is a meditation on men and women, sex and social class, actors and the theater. With deft insight about the gap between the sexes, The Blue Room takes the treacherous Freudian subject of projection and desire and reinvents it in a bittersweet landscape that is both eternal and completely up-to-date.

    But at a time when women are second-class citizens, can her charm and spirit protect her from the dangers of the court? And at what cost?

    At a young age, Tyler was forced to grow up and become the man of his family. Always the protector and provider for his sister, Tyler turned to the streets early on in order to survive. Despite her beauty, Skyler is insecure and unsure of herself. With no one to turn to except her brother, she often feels lost in Tyler’s crazy lifestyle. Tori is Tyler’s ride or die, but like most young girls involved with a street nigga Tori is struggling to hold on to her sanity while trying to deal with all the b.s. and drama that comes with being Tyler’s leading lady, as well as dealing with her own demons. Friends will turn into enemies. Secrets will be revealed and love will be tested. Only the strong survive, so who will be left standing?

    Along with Clover's stylish, powerful friend, Alice, they share holidays, sleepovers, school runs and childcare. They're like one big family. But all families have their secrets. When the children leave home, Clover and Laura's lives and marriages change forever, and the old rules on love and loyalty no longer apply. And when Alice decides she wants what they've got, Clover and Laura have to find out who they really are. Without the children, can their marriages - and friendship - survive?

    A moving and hilarious account of a spring day in a small Welsh coastal town, Under Milk Wood is "lyrical, impassioned and funny, an Our Town given universality" (The New Statesman and Nation).

    A sympathetic werewolf, a vampire and an Egyptian princess brought to life when her tomb is opened make this a comedy that has everything."Far and away the funniest two hours on a New York stage....What more meaningful gift could Ludlam bequeath [audiences

    Lyly took up the story of two young women, Galatea (or Gallathea) and Phillida who are dressed up in male clothes by their fathers so that they can avoid the requirement of the god Neptune that every year "the fairest and chastest virgin in all the country be sacrificed to a sea-monster." Hiding together in the forest, the two maidens fall in love, each supposing the other to be a young man. "Galatea" has become the subject of considerable feminist critical study in recent years. "Midas" (1590) uses mythology in quite a different way, dramatizing two stories about King Midas in such a way as to fashion a satire of King Philip of Spain (and of any tyrant like him) for colossal greediness and folly. In the wake of the defeat of Philip's Armada fleet and its attempted invasion of England in 1588, this satire was calculated to win the approval of Queen Elizabeth and her court.

    This modern riff on the fifteenth-century morality play Everyman follows Everybody (chosen from amongst the cast by lottery at each performance) as they journey through life’s greatest mystery—the meaning of living.

    He was able to make contact in dream states with his intuitive father within days and verbal contact by the end of the first month. Two years later he requested his father write down communication from Galen about his new circumstances. Dr. Stoller’s only comments in this revelatory account appear in Editor’s Notes at the end of each chapter. While there are many accounts of near-death experiences, never has an account been written documenting a personal encounter with such detail and clarity. The story of this gifted boy intent on getting through to earth the knowledge of what lies beyond is both comforting and sobering with a message relevant for all of us still living in this dimension.

    Who better to guide a wagon train from San Antonio to California than Jake Moran, the Hero of Chapultapec in the Mexican War? Trouble is, Jake's not really a hero, though he's the only one who knows it. Fifteen hundred miles of forbidding desert make Jake want to turn down the position, but the emigrants of the California Company are depending on him, and he can't let them down. The company faces thirst, cholera, and Comanche raids. In addition, Jake confronts the enmity of Tyler Hampton, wealthy promoter of the California Company, the man whose leadership position has been taken away and given to Jake. Jake may not be a hero when the company pulls out, but he better become one if they're going to survive.

    She disposes of the hard-dying myth that the great Italian actress played simply on the inspiration of the moment. Miss Le Gallienne's thesis is that Duse's artistic triumphs resulted from her victories over herself, triumphs of character achieved through intellectual and spiritual struggle. In support of her title Miss Le Gallienne adduces evidence of Duse's long and earnest study of the writings of mystics and philosophers. This book is thoughtful, sensible, candid and literate. Miss Le Gallienne's own memories provide a fascinating glimpse into both herself and the tired, fading great actress whom she adored.