When, in 2000, the National Theatre published its poll of the hundred best plays of the 20th century, David Hare had written five of them. Yet he was born in 1947 into an anonymous suburban street in Hastings. It is a world he believes to be as completely vanished as Victorian England.Now in his first panoramic work of memoir, ending as Margaret Thatcher comes to power in 1979, David Hare describes his childhood, his Anglo-Catholic education and his painful apprenticeship to the trade of dramatist. He sets the progress of his own life against the history of a time in which faith in hierarchy, deference, religion, the empire and finally politics all withered away. Only belief in private virtue remains.In his customarily dazzling prose and with great warmth and humour, David Hare explores how so radical a shift could have occurred, and how it is reflected in his own lifelong engagement with two disparate art forms - film and theatre. In The Blue Touch Paper David Hare describes a life of trial and error: both how he became a writer and the high price he and those around him paid for that decision.This limited edition version of the book is signed and slipcased, with high specification production throughout. Just 100 available.

For forty uninterrupted years, Robert Moses was the most powerful man in New York. Though never elected to office, he manipulated those who were through a mix of guile, charm and intimidation. Motivated at first by a determination to improve the lives of New York City's workers, he created parks, bridges and 627 miles of expressway to connect the people to the great outdoors. But in the 1950s, groups of citizens began to organize against his schemes and against the motor car, campaigning for a very different idea of what a city should be. David Hare's blazing account of a man - played by Ralph Fiennes - whose iron will exposed the weakness of democracy in the face of charismatic conviction, premieres at the Bridge Theatre, London, in March 2022.

Covid-19 seems to be a sort of dirty bomb, thrown into the body to cause havoc. On the same day that the UK government finally made the first of two decisive interventions that led to a conspicuously late lockdown, David Hare contracted Covid-19. Nobody seemed to know much about it then, and many doctors are not altogether sure they know much more today. Suffering a pageant of apparently random symptoms, Hare recalls the delirium of his illness, which mixed with fear, dream, honest medicine and dishonest politics to create a monologue of furious urgency and power.

'This happened on December 30, 2003. That may seem a while ago but it won't when it happens to you...' In this adaptation of her award-winning, bestselling memoir, Joan Didion transforms the story of the sudden and unexpected loss of her husband and their only daughter into a stunning and powerful one-woman play. The first production of 'The Year of Magical Thinking', starring Vanessa Redgrave and directed by David Hare, was a runaway hit on Broadway in 2007. The same production is transferring to the National Theatre from April to July 2008.

A young lawyer's involvement in her first case leads her through a criminal justice system - police, courts and prisons - which is cracking at the seams. Murmuring Judges is the second play in David Hare's highly acclaimed trilogy about British institutions. Racing Demon, which won four awards as Play of the Year in 1990, was the first part of the trilogy and examined the Church. The Absence of War, a play about the Labour Party, completed the trilogy.

In 1997, the celebrated contemporary playwright David Hare adapted a little-known play called Ivanov, and in doing so revealed the young Chekhov as a markedly different writer from the one English-speaking audiences were familiar with. Now Hare has produced a streamlined new version of Chekhov's freshman drama Platonov, an abandoned seven-hour manuscript in which Chekhov recasts Don Juan as a Russian schoolmaster. Again, we encounter a great writer who is funnier, more exuberant, and more wildly romantic than anyone expected.

It's not just that rich people don't know what they've got. They don't even know what they throw away. India is beginning to prosper. But beyond the luxury hotels surrounding Mumbai airport is an obstacle, a makeshift slum. It's home to foul mouthed Zehrunisa and her garbage sorting son Abdul, entrepreneurs both. Sunil, twelve, picks plastic. Manju, schoolteacher, hopes to be the settlement's first woman to gain a degree. Asha, go-to woman, exploits every scam to become a first-class person. And Fatima, One Leg, is about to make an accusation that will destroy herself and shatter the neighbourhood. Katherine Boo spent three years under the flight-path, recording the lives of Annawadi's diverse inhabitants. Now from Boo's book, which won the National Book Award for Non-Fiction in 2012, David Hare has fashioned an epic play for the stage which details the ingenious and sometimes violent ways in which the poor and disadvantaged negotiate with corruption to seek a handhold on capitalism's lowest rungs. David Hare's stage adaptation of Behind the Beautiful Forevers premiered at the National Theatre, London, in November 2014.

When, in 2000, the National Theatre published its poll of the hundred best plays of the 20th century, David Hare had written five of them. Yet he was born in 1947 into an anonymous suburban street in Hastings. It is a world he believes to be as completely vanished as Victorian England. Now in his first panoramic work of memoir, ending as Margaret Thatcher comes to power in 1979, David Hare describes his childhood, his Anglo-Catholic education and his painful apprenticeship to the trade of dramatist. He sets the progress of his own life against the history of a time in which faith in hierarchy, deference, religion, the empire and finally politics all withered away. Only belief in private virtue remains. In his customarily dazzling prose and with great warmth and humour, David Hare explores how so radical a shift could have occurred, and how it is reflected in his own lifelong engagement with two disparate art forms - film and theatre. In The Blue Touch Paper David Hare describes a life of trial and error: both how he became a writer and the high price he and those around him paid for that decision.

What is a political playwright? Does theatre have any direct effect on society? Why choose to work in a medium which speaks to so few? Is theatre itself facing oblivion? All frequent questions addressed to David Hare over the last thirty-five years, as his work has taken him from the travelling fringe to the National Theatre, from seasons on Broadway to performances in prisons, church halls and on bare floors. Since 1978, Hare has sought uniquely to address these and other questions in occasional lectures given both in Britain and abroad. Now, for the first time, these lectures are collected together with some of his more recent prose pieces about God, Iraq, Israel/Palestine and the privatisation of the railways. Bringing to the lectern the same wit, insight and gift for the essential for which his plays are known, Hare presents the distilled result of a lifetime's sustained thinking about art and politics.

'A writing career which is the most consistently adventurous of any British dramatist.' Observer Recording dizzying changes in culture and politics, this is a powerful compilation of prose and poetry by one of the distinctive thinkers of our time. The elegant essays range from a celebration of Mad Men to a diagnosis of the incoherence of Conservatism in the new century. The poems, in contrast, are private, tender meditations. 'Always, there is a breadth and a caustic wit reminiscent of his idol Chekhov.' Spectator 'David Hare's great quality has always been his refusal to accept the division between fact and imagination. His creative invention is fired by public realities and in turn he makes those realities feel deeply personal. That same quality is wonderfully at work in his essays and poems. Whether he is writing about Tony Blair or Joan Didion, whether he is writing out of love or rage, evoking the intimate moments of his own life or the great moral questions of our times, he brings his subjects to life with an irresistible immediacy. All the wit, combativeness, energy and edge he has brought to the stage are present here on the page.' Fintan O'Toole 'A reliable source of delight.' New Statesman

1905. Russia is at a turning point. Zakhar Bardin is from the landowning class, but is now the uneasy owner of a factory. His managing director is determined to face down militant workers on a point of principle. But the shutting of the business has tragic consequences for everyone concerned. Gorky's extraordinary play, which was written in exile and banned in his home country, presents a panoramic view of a restless society, with a bourgeoisie no longer sure of its own values, and a working class steadily facing up to the terrifying sacrifices ahead. Described by Ronald Bryden in the Observer in 1971 as 'a real discovery . . . the missing link between Chekhov and the Russian revolution', Enemies has a dramatic breadth, humour and ambition unique to Gorky. Maxim Gorky's Enemies is adapted by David Hare and premiered at the Almeida Theatre, London, in May 2006.

"Life being what it is, one dreams of revenge."

Gauguin's epithet serves as the motto for this moral tale of two woman, both in their sixties, whose lives are interwoven in ways neither of them yet understands. Madeleine Palmer is a retired curator, living alone on the Isle of Wight. One day to her door comes Frances Beale, a woman she has met only once, who is now enjoying sudden success, late in life, as a popular novelist. The progress of a single night comes fascinatingly to echo the hidden course of their lives.

David Hare has been described by The Times as "Britain's leading contemporary playwright" and by the New York Post as "one of the few major playwrights in our language."

The Breath of Life premièred at the Theatre Royal Haymarket, London, in October 2002.

I want to give my country a model of perfection. My country needs cheering up. I'm the man to do it. A man of great passions, John Christie wooed his opera singer wife with a determination befitting a man who won the Military Cross at the Battle of Loos. Now, in 1934, this Etonian science teacher's admiration for the works of Wagner has led him to embark on the construction of an opera house on his Sussex estate. Then, by chance, he hears word of a group of refugees from Nazi Germany who may perhaps deliver his vision of the sublime - assuming they're willing to cast his wife in the lead. David Hare's The Moderate Soprano tells the story of how Glyndebourne, this most English of institutions, derives its character firstly from a woman and secondly from an Austrian and two Germans. The play premiered at Hampstead Theatre in 2015, and opened at the Duke of York's Theatre, London, in April 2018. 'In the grand tradition of Bulgakov's Black Snow, a penetrating way of investigating the politics of life in general through the troubled internal politics of a particular theatrical institution. Fervently recommended.' Independent 'A loving portrayal of the mix of vision, stubbornness, grit, love and luck that can produce great art.' Financial Times

Nadia Blye is a young American war reporter turned academic who teaches Political Studies at Yale. A brief holiday with her boyfriend brings her into contact with a kind of Englishman whose culture and background is a surprise and a challenge, both to her and to her relationship. For thirty five years, David Hare has written plays which catch the flavour of our times, the interconnection between our secret motives and our public politics. Now, at last, he writes about an American, seeking to illustrate how life has subtly changed for so many people in the West in the new century. The Vertical Hour received its world premiere at the Music Box Theater, Broadway, on November 30, 2006, and received its UK premiere at the Royal Court Theatre, London, on 17 January 2008.

This version of Brecht's great anti-war play by playwright David Hare was premiered by the National Theatre, London, in November 1995. It adopts a freer approach to the text than many editions, adapting the original rather than offering a close translation. In this chronicle of the Thirty Years War, Mother Courage follows the armies back and forth across Europe, selling provisions and liquor from her canteen wagon. One by one she loses her children to the war but will not part with her livelihood - the wagon. The Berlin production of 1949, with Helene Weigel as Mother Courage, marked the foundation of the Berliner Ensemble. Considered by many to be one of the greatest anti-war plays ever written and Brecht's masterpiece, it remains a powerful example of Brecht's Epic Theatre and pioneering theatrical style.

After writing a monologue on the subject of Israel and Palestine, David Hare forced himself to make his debut on the professional stage at the age of fifty-one. When his success at London's austere Royal Court theatre led to an invitation to appear in New York at a somewhat flashier Broadway venue, Hare was transformed from a shadowy playwright into an actor alone on the stage every night for ninety minutes.

Hare's hilarious diary of his experience on both sides of the Atlantic tells of his difficulties in coming to terms with his frightening change of career, but also grapples with more serious questions about what the difference is between acting and performance, and whether anyone can learn to do either.

The Great Lighthouses of Ireland is a collection of striking images and fascinating stories about the lighthouses around Ireland's coast and the extraordinary men and women who lived and worked in them. The book, published to accompany the TV series of the same name, has an encyclopaedic range of subjects, including history, biography, engineering and science, art, wildlife and social history. Stories include the raid on the Fastnet by the IRA, Ireland's nuclear-powered lighthouse and the heroic rescue of the Daunt Rock lightship. With more than 300 stunning images and archive documents, this beautiful book brings to life the romance and history of the lighthouses that inspire such fascination.

1962: A public school on the South Downs. John Blakemore is a solitary boy who finds it impossible either to understand or adapt to the ways of the school. His adolescent earnestness put off teacher and pupil alike. And now suddenly he seems to be in danger of losing his only friend. David Hare's emotional new play, written at the invitation of the Rattigan estate as a response to The Browning Version, is a meditation on faith, learning and teenage friendship, played against the backdrop of a Britain still fighting to maintain an established rule. Collected with South Downs is the text of Hare's lecture Mere Fact, Mere Fiction, delivered to the Royal Society of Literature in 2010. In a famous defence of documentary theatre, the author celebrates the power of metaphor to transform factual quite as much as fictional material.

Asking Around is a record of the firsthand documentary research that provided the inspiration and source material for David Hare's trilogy of plays, Racing Demon, Murmuring Judges, and The Absence of War. The trilogy examined the crises that faced three great British institutions—the Church, the Law, and the Labour Party—in the lead-up to the 1992 election that saw the Labour Party once again fail to defeat the Conservatives.

Conducted over five years, Hare's interviews are composed of informal conversations with a wide range of people—from unhappy vicars and police officers forced to put down strikes staged by their childhood fris, to judges and MPs—most of whom reveal a surprising awareness of and cynicism about the principles of their organizations. Priests admit to being essentially social workers with no time for questions of faith, wardens tell of inmates who boast of surviving certain prisons, and politicians and journalists reveal what really goes on in policy meetings. These interviews constitute astute social criticism in the words of the people and, taken together, provide an insightful portrait of Britain in the early nineties.

Connecticut, 1969. On their way back from a party, two couples struggle home through the snow. Not everyone arrives safely. The great detective writer Georges Simenon escaped France at the end of World War Two, and arrived in the USA to start again. With his American wife, he settled at Shadow Rock Farm in Lakeville. Years later, he wrote La Main, a psychological thriller set in a New England farmhouse. David Hare has taken this novel, and forged from it a startling new play. The Red Barn premiered at the National Theatre, London, in October 2016.

In 1975, David Hare co-founded the Joint Stock Theatre Company, for whom he adapted Fanshen, William Hinton's book on the Chinese Revolution. Like most of Hare's political plays, Fanshen refuses to simplify complex moral issues. Focusing on the difficulties, mistakes, and corruptions of the revolution, Hare ultimately implies that those involved can learn from their mistakes and perhaps even move towards a more ideal society. After 1975, Hare began to write for the National Theatre which produced A Map of the World, which takes its title from Oscar Wilde's observation that "A map of the world that does not include Utopia is not worth even glancing at," contrasts the cynicism of a successful novelist with an aggressive and idealistic young journalist. In Saigon, Barbara, a British woman, is a clerk at a bank in Saigon. She meets a CIA operative and the two fall in love just before the Vietcong take over the city.This unique wartime romance gives an unusual perspective of war from two Westerners ostensibly on the outside, but tied to the money and power which drives the war.

Also included in this volume are The Bay at Nice, which premiered at the National in 1986 and The Secret Rapture, which tells the story of two sisters coping with their father's death.

'There are times in the theatre when you suddenly find yourself in the grip of silence. There is no fidgeting or coughing, no shifting about in seats: the audience's attention is so tense it is almost palpable. This is because it is both thrilling and dangerous: a fight to the death, or the dawning of salvation. David Hare's new play, Skylight, is punctuated by such moments. They are the signs that a dramatist of the first rank is writing at full stretch, in complete command of his material, undogmatic and unafraid, unforgiving and compassionate.' Sunday Times Skylight was revived in a new production at the Wyndham's Theatre, London, in June 2014, which received the Evening Standard Revival of the Year Award.

Do you want to be happier? Find inner calm? Enjoy a rich and rewarding life? Here's how... The Buddha in Me, the Buddha in You combines the tried-and-tested wisdom of Nichiren Buddhism with the best of popular psychology and personal development, making this a brilliant guide to how life works, and how to get the most from it. Nichiren Buddhism differs from other Buddhist schools in its focus on the here-and-now, and places great importance on individual growth as the starting point for a better world. This, combined with powerful techniques such as NLP, mindfulness, journalling and coaching, makes The Buddha in Me, the Buddha in You the quintessential handbook for happiness. 'Buddha' simply means someone who is awakened - yet while Nichiren Buddhists will find fascinating insights into their practice, there is no need to follow a spiritual path to benefit from this book. Through his experience as an internationally acclaimed life coach and practising Buddhist, author David Hare shows us how to wake up to our own potential and that of those around us - to discover everyday enlightenment.

This is a new collection of some of David Hare's finest work, including Skylight (Winner of the Laurence Olivier Award for Best New Play, 1996), Amy's View, The Judas Kiss and My Zinc Bed.