Siblings Jack and Jaz Donaldson just want to be regular kids. But one evening, after fourteen-year-old Jack protects his younger sister during an argument with another girl, the two suddenly realize that they are not regular at all. Soon, they share a dark secret between them-a secret so shocking that it has the potential to destroy their affluent family.

Jack and Jaz's well-meaning parents have no idea what effect their own actions and, sadly, inactions have wrought. As Jack and Jaz continue on their coming-of-age journeys and experience life-changing moments, the confidence only they share is never compromised, yielding at least the appearance of a normal life. But decades later, their worlds are about to be turned upside down as separate tragedies strike each of them. With their unforgettable secret still lurking beneath the surface, neither knows whether these shattering events will finally allow them to be free or whether they both must somehow find comfort in living with the deception-forever.

Now nearly fifty years later, Jack and Jaz must decide if it is truly possible to escape the debilitating burden of their scandalous secret or if they have no choice but to take it to the grave with them.

Novelists have long been attracted to theatre. Some have pursued success on the stage, but many have sought to combine these worlds, entering theatre through their fiction, setting stages on their novels’ pages, and casting actors, directors, and playwrights as their protagonists. The Routledge Companion to Theatre-Fiction has convened an international community of scholars to explore the remarkable array of novelists from many eras and parts of the world who have created fiction from the stuff of theatre, asking what happens to theatre on the pages of novels, and what happens to novels when they collaborate with theatre. From J. W. Goethe to Louisa May Alcott, Mikhail Bulgakov, Virginia Woolf, and Margaret Atwood, some of history’s most influential novelists have written theatre-fiction, and this Companion discusses many of these figures from new angles. But it also spotlights writers who have received less critical attention, such as Dorothy Leighton, Agustín de Rojas Villandrando, Ronald Firbank, Syed Mustafa Siraj, Li Yu, and Vicente Blasco Ibañez, bringing their work into conversation with a vital field. A valuable resource for students, scholars, and admirers of both theatre and novels, The Routledge Companion to Theatre-Fiction offers a wealth of new perspectives on topics of increasing critical concern, including intermediality, theatricality, antitheatricality, mimesis, diegesis, and performativity.

Edward Gibbon's allegation at the beginning of his Essay on the Study of Literature (1764) that the history of empires is that of the miseries of humankind whereas the history of the sciences is that of their splendour and happiness has for a long time been accepted by professional scientists and by historians of science alike. For its practitioner, the history of a discipline displayed above all the always difficult but fmally rewarding approach to a truth which was incorporated in the discipline in its actual fonn. Looking back, it was only too easy to distinguish those who erred and heretics in the field from the few forerunners of true science. On the one hand, the traditional history of science was told as a story of hero and hero worship, on the other hand it was, paradoxically enough, the constant attempt to remind the scientist whom he should better forget. It is not surprising at all therefore that the traditional history of science was a field of only minor interest for the practitioner of a distinct scientific diSCipline or specialty and at the same time a hardly challenging task for the professional historian. Nietzsche had already described the historian of science as someone who arrives late after harvest-time: it is somebody who is only a tolerated guest at the thanksgiving dinner of the scientific community .

This volume posits and explores an intermedial genre called theatre-fiction, understood in its broadest sense as referring to novels and stories that engage in concrete and sustained ways with theatre. Though theatre has made star appearances in dozens of literary fictions, including many by modern history's most influential authors, no full-length study has dedicated itself specifically to theatre-fiction-in fact there has not even been a recognized name for the phenomenon. Focusing on Britain, where most of the world's theatre-novels have been produced, and commencing in the late-nineteenth century, when theatre increasingly took on major roles in novels, Theatre-Fiction in Britain argues for the benefits of considering these works in relation to each other, to a history of development, and to the theatre of their time. New modes of intermedial analysis are modelled through close studies of Henry James, Somerset Maugham, Virginia Woolf, J. B. Priestley, Ngaio Marsh, Angela Carter, and Doris Lessing, all of whom were deeply involved in the theatre-world as playwrights, directors, reviewers, and theorists. Drawing as much on theatre scholarship as on literary theory, Theatre-Fiction in Britain presents theatre-fiction as one of the past century's most vital means of exploring, reconsidering, and bringing forth theatre's potentials.

This volume posits and explores an intermedial genre called theatre-fiction, understood in its broadest sense as referring to novels and stories that engage in concrete and sustained ways with theatre. Though theatre has made star appearances in dozens of literary fictions, including many by modern history's most influential authors, no full-length study has dedicated itself specifically to theatre-fiction-in fact there has not even been a recognized name for the phenomenon. Focusing on Britain, where most of the world's theatre-novels have been produced, and commencing in the late-nineteenth century, when theatre increasingly took on major roles in novels, Theatre-Fiction in Britain argues for the benefits of considering these works in relation to each other, to a history of development, and to the theatre of their time. New modes of intermedial analysis are modelled through close studies of Henry James, Somerset Maugham, Virginia Woolf, J. B. Priestley, Ngaio Marsh, Angela Carter, and Doris Lessing, all of whom were deeply involved in the theatre-world as playwrights, directors, reviewers, and theorists. Drawing as much on theatre scholarship as on literary theory, Theatre-Fiction in Britain presents theatre-fiction as one of the past century's most vital means of exploring, reconsidering, and bringing forth theatre's potentials.

Edward Gibbon's allegation at the beginning of his Essay on the Study of Literature (1764) that the history of empires is that of the miseries of humankind whereas the history of the sciences is that of their splendour and happiness has for a long time been accepted by professional scientists and by historians of science alike. For its practitioner, the history of a discipline displayed above all the always difficult but fmally rewarding approach to a truth which was incorporated in the discipline in its actual fonn. Looking back, it was only too easy to distinguish those who erred and heretics in the field from the few forerunners of true science. On the one hand, the traditional history of science was told as a story of hero and hero worship, on the other hand it was, paradoxically enough, the constant attempt to remind the scientist whom he should better forget. It is not surprising at all therefore that the traditional history of science was a field of only minor interest for the practitioner of a distinct scientific diSCipline or specialty and at the same time a hardly challenging task for the professional historian. Nietzsche had already described the historian of science as someone who arrives late after harvest-time: it is somebody who is only a tolerated guest at the thanksgiving dinner of the scientific community .

Siblings Jack and Jaz Donaldson just want to be regular kids. But one evening, after fourteen-year-old Jack protects his younger sister during an argument with another girl, the two suddenly realize that they are not regular at all. Soon, they share a dark secret between them-a secret so shocking that it has the potential to destroy their affluent family.

Jack and Jaz's well-meaning parents have no idea what effect their own actions and, sadly, inactions have wrought. As Jack and Jaz continue on their coming-of-age journeys and experience life-changing moments, the confidence only they share is never compromised, yielding at least the appearance of a normal life. But decades later, their worlds are about to be turned upside down as separate tragedies strike each of them. With their unforgettable secret still lurking beneath the surface, neither knows whether these shattering events will finally allow them to be free or whether they both must somehow find comfort in living with the deception-forever.

Now nearly fifty years later, Jack and Jaz must decide if it is truly possible to escape the debilitating burden of their scandalous secret or if they have no choice but to take it to the grave with them.