Connie and Oletha are like two peas in a pod. After meeting for the first time on a Sunday afternoon after one of Reverend Pete's dynamic sermons at the local church, the fair-skinned Connie and the cocoa brown Oletha connect immediately and two strangers become best friends right then and there.

As the young girls become closer, they talk about boys during weekly youth sessions at church. While Oletha excitedly describes Leon, a high school athlete who is handsome, muscular, and a soon-to-be-lover, Connie's mind is occupied with thoughts of Melvin, a young churchgoer. But on a hot summer evening while walking to the country store, Oletha and Connie realize that everything in life can change in an instant. Leon stops to offer them a ride and asks Connie-who has always been mesmerized with Oletha's descriptions of the attractive athlete-to ride up front. As an already hot summer night becomes even more heated, Connie must face a monumental decision.

Torn between the advice of her churchgoing mother and the advice of her best friend, Connie knows that the choice she makes is going to bring unpredictable changes to not only her life, but the lives of others.

This new translation (the first complete verse translation of Aristophanes' comedies to appear for more than twenty-five years) makes freshly available one of the most remarkable comic playwrights in the entire Western tradition. Aristophanes is the only surviving representative of Greek Old Comedy, which flourished during the heyday of classical Athenian culture in the fifth century BC, and his plays are characterized by extraordinary combinations of fantasy and satire, sophistication and vulgarity, formality and freedom. This special mixture of qualities calls for a range and flexibility of linguistic resources which only a verse translation can supply. The present translation balances historical fidelity with literary and dramatic vigour, and conveys some of the unique variety of Aristophanic comic theatre. There is a substantial general introduction to the author and introductory essays to each of the plays, as well as full explanatory notes and an index of names.

In the year of 1924, George N. Randolph, a US Army captain stationed at Camp Gaillard in the Panama Canal Zone, sat at his desk and began writing his first love letter to Ruth Morrison, a woman he had fallen in love with at first sight. Being a military man, he began expressing himself in a definite, precise manner. The recipient of his letter was the principal of the English Speaking School of Gatun, in the Canal Zone. She immediately replied to his letter in her own softer, more descriptive manner. Thus began their love story.

In The Captain's Lady, the couple's daughter, Ellen Randolph Weatherly, shares the letters her parents penned to each other, complete with all the essential elements necessary in a spellbinding love story. The letters include commentaries involving historical events, political elections, pioneer history, humorous happenings, and life during the period of 1924.

Compiled exactly as they were written, the letters, and accompanying photographs, not only paint a picture of the times, but also narrate the tale of an enduring love story.

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. They include poet-activist John Watkins's John Frost, which dramatises the gripping events of the Newport rising, in which twenty-two Chartists lost their lives in what was probably a misfired attempt to spark a nationwide rebellion. Gregory Vargo's introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre. -- .

This commentary discusses Aeschylus' play Agamemnon (458 BC), which is one of the most popular of the surviving ancient Greek tragedies, and is the first to be published in English since 1958. It is designed particularly to help students who are tackling Aeschylus in the original Greek for the first time, and includes a reprint of D. L. Page's Oxford Classical Text of the play.
The introduction defines the place of Agamemnon within the Oresteia trilogy as a whole, and the historical context in which the plays were produced. It discusses Aeschylus' handling of the traditional myth and the main ideas which underpin his overall design: such as the development of justice and the nature of human responsibility; and it emphasizes how the power of words, seen as ominous speech-acts which can determine future events, makes a central contribution to the play's dramatic momentum. Separate sections explore Aeschylus' use of theatrical resources, the role of the chorus, and the solo characters. Finally there is an analysis of Aeschylus' distinctive poetic style and use of imagery, and an outline of the transmission of the play from 458 BC to the first printed editions.

After the success of Little Women, Louisa M. Alcott responded to demand for a sequel by writing Good Wives which continues to chart the lives of Meg, Jo, Beth and Amy. 3 women, 9 men

Lois Relph, a young stepmother with two stepdaughters for whom she cares deeply and her own thriving business, appears contented and in charge. But this is 1924, so does she really have control of her own money, or even her life, and what will she be able to do if things are in danger of going wrong both personally and professionally? It needs courage and determination to define what being a wife, mother and businesswoman means and it is not easy. A story whose resonance is still felt today.

This master piece collects the painful feelings of a growing sector of a nation marked by the oppression of two different cultures. PITIRRE DOES NOT WANT TO SPEAK ENGLISH represents the rejection against the embarrassing and impunity ambition of an imperialist nation in plain twenty-first century.

The first play published by an African-American, this comic 1858 melodrama about two slaves who secretly marry explores the racial tensions between North and South in the years just before the Civil War. With its mix of action, comedy, social commentary and an authenticity only a former slave could recreate, The Escape is essential reading for students of black history and literature. It is also a remarkable glimpse at characters and situations rarely seen from the contemporary black perspective.Born into slavery, American author WILLIAM WELLS BROWN (1814 1884) escaped to the North where he became a prominent abolitionist lecturer, novelist, playwright, and historian. His novel, Clotel: or, The President 's Daughter, is considered by historians to be the first novel written by an African American. His other works include The Negro in the American Rebellion and The Black Man.

Mystery / Casting: 5m, 7f / Scenery: InteriorThe announcement in the local paper states time and place of a murder to occur in Miss Blacklock's Victorian house. The victim is not one of several occupants, temporary and permanent, but an unexpected and unknown visitor. What follows is a classic Christie puzzle of mixed motives, concealed identities, a second death, a determined Inspector grimly following the twists and turns, and Miss Marple on hand to provide the final solution at some risk to herself in a dramatic confrontation scene just before the final curtain. "Had the first night audience on the edge of their seats." Evening Post. "Re enter Agatha with another whodunit hit, another of her fiendishly ingenious murder mysteries." London Evening News.