He wrote Chandrakanta, Chandrakanta Santati, Kajar ki Kothari, Narendra-Mohini, Kusum Kumari, Virendra Veer, Gupt Godna, Katora Bhar Khoon and Bhootnath. Babu Devkinandan Khatri wrote only six parts of the book Bhootnath, and was subsequently completed by his son Durga Prasad Khatri, who wrote the concluding volumes.

    But a few weeks before the engagement, he receives a mysterious voice message from someone from Afsana's past. Curious, Shanay plays the voice message and through those many other such messages, a different world from the past opens up about a beautiful relationship that got broken due to a terrible lie. Half Torn Hearts is a coming-of-age tale of three layered individuals coming in terms with their first loss, which bares the devil that we all possess but are scared of encountering and which eventually becomes the cause of our own ruins.

    Originally published in 1966 - this is a recent reprint of the play in English.

    It is doubtful that Bennett could have made up the eccentric Miss Shepherd if he tried, but his poignant, funny but unsentimental account of their strange relationship is akin to his best fictional screen writing.Bennett concedes that "One seldom was able to do her a good turn without some thoughts of strangulation", but as the plastic bags build up, the years pass by and Miss Shepherd moves into Bennett's driveway, a relationship is established which defines a certain moment in late 20th-century London life which has probably gone forever. The dissenting, liberal, middle-class world of Bennett and his peers comes into hilarious but also telling collision with the world of Miss Shepherd: "there was a gap between our social position and our social obligations. It was in this gap that Miss Shepherd (in her van) was able to live". Bennett recounts Miss Shepherd's bizarre escapades in his inimitable style, from her letter to the Argentinean Embassy at the height of the Falklands War, to her attempts to stand for Parliament and wangle an electric wheelchair out of the Social Services. Beautifully observed, The Lady in the Van is as notable for Bennett's attempts to uncover the enigmatic history of Miss Shepherd, as it is for its amusing account of her eccentric escapades. --Jerry Brotton

    A farce with a hilarious drunk scene for two stylish comediennes.

    Prepare for exams and succeed in your mathematics course with this comprehensive solutions manual! Featuring worked out-solutions to the problems in CALCULUS: THE CLASSIC EDITION, 5th Edition, this manual shows you how to approach and solve problems using the same step-by-step explanations found in your textbook examples.

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    Each of the 104 ghazals, 7 miscellaneous nazms, and 68 selected letters are presented in the original Urdu text, with a parallel translation in simple, lucid English, and a transliteration in Roman script for readers who are not familiar with Urdu in Persian script. A critical introduction to Ghalib's work, chronology of important events in his life, and bibliography are also provided.

    Also included are fascinating primary sources and background materials, an annotated bibliography, and discussions of the work by leading scholars Robert Louis Jackson, Richard Tempest, and Dariusz Tolczyk. Combining scholarship with accessibility, this critical companion--part of the acclaimed AATSEEL series--illuminates a great work of literature and will enhance its appreciation by students and teachers.

    

    His dialogue--abrasive, rhythmic--illuminates a modern aesthetic evocative of Samuel Beckett. His plots--surprising, comic, topical--have evoked comparisons to masters from Alfred Hitchcock to Arthur Miller. Here are two screenplays demonstrating the astounding range of Mamet's talents.         The Spanish Prisoner, a neo-noir thriller about a research-and-development cog hoodwinked out of his own brilliant discovery, demonstrates Mamet's incomparable use of character in a dizzying tale of twists and mistaken identity. The Winslow Boy, Mamet's revisitation of Terence Rattigan's  classic 1946 play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. Crackling with wit, intelligent and surprising, The Spanish Prisoner and The Winslow Boy celebrate Mamet's unique genius and our eternal fascination with the extraordinary predicaments of the common man.

    Stairs to the Roof is a rare and different Williams' work: a love story, a comedy, an experiment in meta-theater, with a touch of early science fiction. Tennessee Williams called Stairs to the Roof "a prayer for the wild of heart who are kept in cages" and dedicated it to "all the little wage earners of the world." It reflects the would-be poet's "season in hell" during the Depression when he had to quit college to type orders eight hours a day at the International Shoe Factory in St. Louis. Stairs is Williams' revenge, expressed through his alter ego, Benjamin Murphy, the clerk who stages a one-man rebellion against the clock, the monotony of his eight-to-five job, and all the dehumanizing forces of an increasingly mechanized and commercial society. Ben's swift-moving series of fantastic adventures culminate in an escape from the ordinary that is an endorsement of the American dream. In 1941 with the world at war and civilization in danger of collapse, Williams dared to imagine a utopian future as Ben leads us up his stairs towards the Millennium. Stairs to the Roof was produced only twice, once at the Playbox in Pasadena, California, in 1945, and subsequently at the Pasadena Playhouse in 1947. Now, in an edition meticulously prepared by noted Williams scholar Allean Hale, Williams fans can share this play of youthful optimism.

    It is not about terrorism, the holocaust, or understanding death. They are the framework for this heartwarming story about a never-a-serious-thought high school senior and his best friend, a Deaf-blind, legless old man, who teaches him how to capture and hold, The Pristine American Dream. Pristine, "Characteristics of the earliest period or condition: original: still pure: uncorrupted: unspoiled [Pristine beauty]." Webster's New World Dictionary. Sometime, somehow, somewhere, we, as a people, stopped living and dreaming The Pristine American Dream as our Founding Fathers knew it. Like colors fading from a handkerchief long forgotten on a cedar post, the Dream has faded from our thoughts and aspirations. The change has been imperceptible, yet over time all of the brilliance has faded to the dull, uninspiring and common. The Pristine American Dream has taken on a different hue. To some, the American Dream has become a passionate search for easy wealth by hitting it big in the lottery, sweepstakes, a big lawsuit, or receiving an inheritance. To others it is landing a professional sports contract, or achieving prominence in politics, business or popularity without any thought to inherent rights. As important as these achievements may be to some people, The Pristine American Dream is much better. This story showcases The Pristine American Dream, which is those inalienable or inherent rights guaranteed to each American by virtue of their birth, and the diligence, hard work and determination required to obtain and enjoy the privileges of life. Simply put, inherent rights are the rights to be and to do good. Everything that is good is right, an inherent right. Nobody ever has the right to do bad; they only have the power to choose it. Many people see goodness as the result of religious dedication instead of the catalyst that fires the furnace of happiness. No matter what circumstances' individuals, families, communities or nations find themselves in, they always enjoy more peace of mind and happiness when they maintain their inherent rights. Privileges are the sweet things of life for which one must work to receive. This is a fiction story. The setting is Declo, Idaho during the years of 1966 and 1967. All the characters are fiction, but like many great fiction characters they may resemble living or dead individuals whose lives have impacted that of the author. Most family names are indigenous to the Declo community, yet there should not be any inference made that any of the characters are living or have ever lived. There are, however, certain authenthic individuals who make cameo appearances to add color to its historical setting.

    She wants to make a successful career, prove herself to the world and has no time for love. Abhi is a lower-middle-class guy who is looking for a promising career too but he believes in love. He wants to live every portion of his life. He doesn't want to regret later. But then comes a point where he found out that his life is not the same when he meets Aparna. For Aparna, Abhi is a good friend but for Abhi, she is more than that. She is his everything now. And, It's time for him to tell her that before they leave each other to follow their career. He struggles, struggles a lot but opens his heart out to her. They move ahead with their life away from each other for another four years, not a small-time for anyone to wait for each other. Will they meet again, will they find someone else, will they be able to know what is love and what is a relationship, will they stand by each other or will someone else stand by them? Read the story of two individuals who will bring romance, emotion, and struggle and tell you what is love.

    Here live the Starkadders - Aunt Ada Doom, Judith, Amos, Seth, Reuben, Elfine...They lead messy, untidy lives, full of dark thoughts, moody silences, and sudden noisy quarrels. That is, until their attractive young cousin arrives from London. Neat, sensible, efficient, Flora Poste cannot bear messes (they are so uncivilized). She begins to tidy up the Starkadders' lives at once ...