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.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Pomona Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

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.

El contenido de este libro son las experiencias y
vivencias de la biografia su autora Dra. Miriam Valencia. Este tomo tiene: drama, romance, y
accion. Drama de su ninez y matrimonio por la violencia domestica y abusos emocionales y
fisicos que experimento. Romance, los abusos de fraudes que se llevaron a cabo por la inexperiencia
e ingeniosidad de creer en un romance a traves de la tecnologia, y accion por la experiencia
vivida cuando estuvo su vida en peligro de muerte. Tambien contiene un minucioso estudio
de guerra espiritual ya que fue envuelta por una doctrina falsa en la cual por inexperta
recibio abusos de seres espirituales demoniacos.
El proposito de este contenido es: Dar conocimiento a muchos afi cionados a la literatura para
darle una nueva experiencia a su vida y su alma y espiritu y puedan encontrar la paz que necesitan.
Vivimos en una era de grandes cambios, donde la necesidad del conocimiento apremia, los libros
pueden envejecer; pero la razon es apremiante de adquirir el conocimiento de otros. Lo triste es
cuando se ha llegado al pensamiento de que ya se aprendio todo; Y cuando refl exionamos nos damos
cuenta que apenas comenzamos, y asi lo. Establecio el Senor Dios todo poderoso en las sagradas
escrituras: Mi pueblo fue destruido, porque le falto conocimiento, yo te echare del sacerdocio; y porque
olvidaste la ley de tu Dios, tambien yo me olvidare de tus hijos. (Oseas 4:6).
Con todo respeto espera que El Dios Altisimo creador, a traves de su Hijo Jesus con la comunion
de su Santo Espiritu llene de bendicion, de amor y de paz su vida; son mis grandes deseos para todo
lector. Dra. Miriam Valencia"

The major work of German literature, Johann Wolfgang von Goethe's Faust (1808), was translated into English by one of Britain's most capable mediators of German literature and philosophy, Samuel Taylor Coleridge. Goethe himself twice referred to Coleridge's translation of his Faust. Goethe's character wrestles with the very metaphysical and theological problems that preoccupied Coleridge: the meaning of the Logos, the apparent opposition of theism and pantheism. Coleridge, the poet of tormented guilt, of the demonic and the supernatural, found himself on familiar ground in translating Faust. Because his translation reveals revisions and reworkings of Coleridge's earlier works, his Faust contributes significantly to the understanding of Coleridge's entire oeuvre. Coleridge began, but soon abandoned, the translation in 1814, returning to the task in 1820. At Coleridge's own insistence, it was published anonymously in 1821, illustrated with 27 line engravings copied by Henry Moses after the original plates by Moritz Retzsch. His publisher, Thomas Boosey, brought out another edition in 1824. Although several critics recognized that it was Coleridge's work, his role as translator was obscured because of its anonymous publication. Coleridge himself declared that he 'never put pen to paper as translator of Faust', and subsequent generations mistakenly attributed the translation to George Soane, a minor playwright, who had actually commenced translating for a rival press. This edition of Coleridge's translation provides the textual and documentary evidence of his authorship, and presents his work in the context of other contemporary efforts at translating Goethe's Faust.

'Six Characters in search of an Author' is a is a satirical tragicomedy play. First performed in 1921 at the Teatro Valle in Rome, it had a very mixed reception, with the audience shouting "Manicomio " ("Madhouse "). However, the reception improved significantly and in 1922 it played on Broadway at the Princess Theatre.The play starts with a group of actors preparing to rehearse for a Pirandello play. The rehearsal is interrupted by the arrival of six characters. One of then informs the manager that they are looking for an author. He explains that the author who created them did not finish their story, and that they therefore are unrealized characters who have not been fully brought to life. Initially, the manager goes to throw them out of the theatre, but becomes more intrigued when they start to describe their story.

Celebrate the incredible journey of Phoebe Waller-Bridge's outrageously funny, blazingly forthright Fleabag, from fringe theatre hit to international cultural phenomenon, in this special edition - featuring the original playscript, never-before-seen colour photos, and exclusive bonus content by Phoebe, director Vicky Jones and key members of the creative team. In 2013, Fleabag made its debut as a one-woman show in sixty-seater venue the Big Belly, at the Edinburgh Festival Fringe's Underbelly. It was an immediate hit, going on to enjoy two runs at London's Soho Theatre, national and international tours, whilst picking up prizes including Critics' Circle, The Stage, Fringe First and two Off West End Theatre Awards, plus an Olivier Award nomination. The 2016 TV adaptation propelled Fleabag and Phoebe to worldwide fame, earning critical acclaim and further accolades including Writers' Guild, Royal Television Society and BAFTA Television Awards. A second series followed in 2019, winning an amazing six Emmy Awards (including Outstanding Comedy Series and Outstanding Writing for a Comedy Series), along with a sold-out run of the original play in New York. This special edition of the play is released alongside Fleabag's first West End run at Wyndham's Theatre, London. It is introduced by Deborah Frances-White, stand-up comedian, writer and host of The Guilty Feminist podcast.