When Magizoologist Newt Scamander arrives in New York, he intends his stay to be just a brief stopover. However, when his magical case is misplaced and some of Newt's fantastic beasts escape, it spells trouble for everyone...
Inspired by the original Hogwart's textbook by Newt Scamander, marks the screenwriting debut of J.K. Rowling, author of the beloved and internationally bestselling Harry Potter books. A feat of imagination and featuring a cast of remarkable characters and magical creatures, this is epic adventure-packed storytelling at its very best. Whether an existing fan or new to the wizarding world, this is a perfect addition for any film lover or reader's bookshelf.
The Tragedy of Hamlet, Prince of Denmark, or more simply Hamlet, is a tragedy by William Shakespeare, believed to have been written between 1599 and 1601. The play, set in Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius, who has murdered Hamlet's father, the King, and then taken the throne and married Gertrude, Hamlet's mother. The play vividly charts the course of real and feigned madness—from overwhelming grief to seething rage—and explores themes of treachery, revenge, incest, and moral corruption.
It is a very short list of 20th-century American plays that continue to have the same power and impact as when they first appeared—57 years after its Broadway premiere, Tennessee Williams' A Streetcar Named Desire is one of those plays. The story famously recounts how the faded and promiscuous Blanche DuBois is pushed over the edge by her sexy and brutal brother-in-law, Stanley Kowalski. Streetcar launched the careers of Marlon Brando, Jessica Tandy, Kim Hunter and Karl Malden, and solidified the position of Tennessee Williams as one of the most important young playwrights of his generation, as well as that of Elia Kazan as the greatest American stage director of the '40s and '50s.
Who better than America's elder statesman of the theater, Williams' contemporary Arthur Miller, to write as a witness to the lightning that struck American culture in the form of A Streetcar Named Desire? Miller's rich perspective on Williams' singular style of poetic dialogue, sensitive characters, and dramatic violence makes this a unique and valuable new edition of A Streetcar Named Desire. This definitive new edition will also include Williams' essay "The World I Live In," and a brief chronology of the author's life.
No play in the modern theatre has so captured the imagination and heart of the American public as Tennessee Williams’s The Glass Menagerie. Menagerie was Williams’s first popular success and launched the brilliant, if somewhat controversial, career of our pre-eminent lyric playwright. Since its premiere in Chicago in 1944, with the legendary Laurette Taylor in the role of Amanda, the play has been the bravura piece for great actresses from Jessica Tandy to Joanne Woodward, and is studied and performed in classrooms and theatres around the world. The Glass Menagerie (in the reading text the author preferred) is now available only in its New Directions Paperbook edition. A new introduction by prominent Williams scholar Robert Bray, editor of The Tennessee Williams Annual Review, reappraises the play more than half a century after it won the New York Drama Critics Circle Award: “More than fifty years after telling his story of a family whose lives form a triangle of quiet desperation, Williams’s mellifluous voice still resonates deeply and universally.” This edition of The Glass Menagerie also includes Williams’s essay on the impact of sudden fame on a struggling writer, “The Catastrophe of Success,” as well as a short section of Williams’s own “Production Notes.” The cover features the classic line drawing by Alvin Lustig, originally done for the 1949 New Directions edition.
"Rosencrantz and Guildenstern Are Dead" is an absurdist, existentialist tragicomedy by Tom Stoppard, first staged at the Edinburgh Festival Fringe in 1966.
The play was adapted for a film released in February 1990, with screenplay and direction by Stoppard. The motion picture is Stoppard's only film directing credit: "[I]t began to become clear that it might be a good idea if I did it myself - at least the director wouldn't have to keep wondering what the author meant. It just seemed that I'd be the only person who could treat the play with the necessary disrespect." The cast included Gary Oldman as Rosencrantz, Tim Roth as Guildenstern, Richard Dreyfuss as the Player, Joanna Roth as Ophelia, Ian Richardson as Polonius, Joanna Miles as Gertrude, Donald Sumpter as Claudius, and Iain Glen as Hamlet.
Ann-Marie MacDonald’s love of the fabulous is in full force with this multi-layered reworking of her earlier play, .
Following her father’s death, amateur scientist Pearl MacIsaac struggles to discover the secret of her family’s past, which her father had been kept hidden with the help of the family doctor. Set in Scotland in 1899, this dark and redemptive gothic comedy is a story of family secrets that have come to life and of the birth and evolution of ideas — and truly a play of morals. Reaching out in two directions to reconcile the extremes of rationalism and romanticism, embraces a complex range of turn-of-the-century thought including Charles Darwin’s theory of evolution, contemporary medical beliefs and the concept of eugenics.
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We have decided to call this one another FAKE. Though, no official word has yet been released, so the urge to avoid is still in effect. But a number of us here believe this is another fan leak. An entertaining read none the less.
A startling encounter on a New York subway platform leads two strangers to a run-down tenement where a life or death decision must be made.
In that small apartment, “Black” and “White,” as the two men are known, begin a conversation that leads each back through his own history, mining the origins of two fundamentally opposing world-views. White is a professor whose seemingly enviable existence of relative ease has left him nonetheless in despair. Black, an ex-con and ex-addict, is the more hopeful of the men—though he is just as desperate to convince White of the power of faith as White is desperate to deny it.
Their aim is no less than this: to discover the meaning of life.
Deft, spare, and full of artful tension, “The Sunset Limited” is a beautifully crafted, consistently thought-provoking, and deceptively intimate work by one of the most insightful writers of our time.
Bleak, funny and excruciatingly accurate, Sex with a Stranger examines what it is to be in your twenties, lonely, hollow and uncertain. Adam meets Grace in a club. They go back to hers. Earlier that day, his girlfriend watches as he prepares for his big night out.
R is a young man with an existential crisis—he is a zombie. He shuffles through an America destroyed by war, social collapse, and the mindless hunger of his undead comrades, but he craves something more than blood and brains. He can speak just a few grunted syllables, but his inner life is deep, full of wonder and longing. He has no memories, noidentity, and no pulse, but he has dreams.
After experiencing a teenage boy’s memories while consuming his brain, R makes an unexpected choice that begins a tense, awkward, and stragely sweet relationship with the victim’s human girlfriend. Julie is a blast of color in the otherwise dreary and gray landscape that surrounds R. His decision to protect her will transform not only R, but his fellow Dead, and perhaps their whole lifeless world.
Scary, funny, and surprisingly poignant, is about being alive, being dead, and the blurry line in between.
For the first time in English, Vladimir Nabokov’s earliest major work, written when he was only twenty-four: his only full-length play, introduced by Thomas Karshan and beautifully translated by Karshan and Anastasia Tolstoy.
The variety, force and richness of Nabokov’s perceptions have not even the palest rival in modern fiction. To read him in full flight is to experience stimulation that is at once intellectual, imaginative and aesthetic, the nearest thing to pure sensual pleasure that prose can offer.
He did us all an honour by electing to use, and transform, our language.
The power of the imagination is not apt soon to find another champion of such vigour.
This is the novel that inspired one of the most famous movies about divorce ever made, starring Michael Douglas and Kathleen Turner. Oliver and Barbara Rose are a passionate couple who meet at a Cape Cod auction while bidding for matching figurines. The figurines belong together, and so do the Roses. Their perfect love, complete with dream home and wonderful children, is fated to disintegrate, however, and when Oliver collapses in an apparent heart attack, Barbara’s indifference brings the true state of their marriage out into the open. The war they wage against each other eventually descends into brutality and madness, as they destroy each other’s most prized possessions and spiral into chaos.
The global impact of both the book and the movie has brought the phrase ‘The War of the Roses’ into the popular jargon describing the terrible hatred and cruelty engendered in divorce proceedings.
The Roses’ bereft children are featured in the novel’s sequel, .
“Warren Adler writes with skill and a sense of scene.”
“Warren Adler surveys the terrain [of marital strife] with mordant wit. This accomplished tale… builds to a baleful yet all-too-believable climax.”
“The War of the Roses is a clever look at the breakup of a marriage…. It is Adler’s achievement that he makes the most bizarre actions of each (party) seem logical under the circumstances…. Both frightening and revealing.”
A horrendous storm looms over a rundown truck stop diner in Grand Island, Nebraska, bringing together ten people who start to reveal damaging secrets as the night goes on. This critically-acclaimed stage play features roles for 7 women and 3 men. The Sacramento Area Regional Theatre Alliance awarded the world premiere with two awards: Best Original Script and Best Original Production. The play received a New York premiere at the Creative Place Theatre.
Inspired by the writings of Stefan Zweig, recreates a by-gone era through its arresting visuals and sparkling dialogue. The charm and vibrant colours of the film gradually darken with a sense of melancholy as the forces of history conspire against a vanishing world
This volume of Handke's plays includes two full-length and four shorter plays by the young Austrian playwright. The first of the full-length plays, is one of Handke's best-known works. It deals directly with one of Handke's favorite themes: the realities of theater itself, independent of the offstage world, and the way language (dialogue) and objects (props) operate in the skewed world of the stage. Therein it anticipates , Handke's most recent full-length play, which is also in this volume. In some ways more conventional than many of Handke's plays, presents one of his most fascinating protagonists, Quitt, a businessman who first induces a group of colleagues to set up a monopoly and then torpedoes the scheme. The four short plays that round out the book-and -were written between 1966 and 1969, before (1971), and show Handke moving from the experimental mode of his early work toward the richness and complexity that have marked him as the most important dramatist since Becket; they bear witness to the truth of Richard Gilman's observation that "in Handke's theater, language, exposed, assaulted, wrestled with, driven to limits, and pursued still further, begins to take on, like the color returning to the cheeks of a nearly hanged man, the signs of a strange and unexpected resurrection."
"Writers are made, not born," Ayn Rand wrote in another context. "To be exact, writers are self-made." In this fascinating collection of Ayn Rand's earliest work — including a previously unpublished piece, "The Night King" — her own career proves her point. We see here not only the budding of the philosophy that would seal her reputation as a champion of the individual, but also the emergence of a great narrative stylist whose fiction would place her among the most towering figures in the history of American literature.
Dr. Leonard Peikoff worked with Ayn Rand for thirty years; he is her legal heir and the executor of her estate.
Detailing the results of Nolan’s efforts, includes key storyboard sequences, full-color concept art, and an appendix on the workings of the mysterious Pasiv Device that Cobb and his fellow extractors use to initiate the dream-share. An exclusive exploration of a highly original concept, is the record of a writer-director at the height of his craft.
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