With a series of 'music in care' books aimed at supporting adults through a range of life's situations using music, John Osborne has collaborated with a new young author to bring fresh perspective on how the power of music can affect a young person's life. Coping with moving to a new school can be a difficult and challenging time for any young person but it can be even more problematic if you are on the autistic spectrum. This book tells the story of Luke Fiddes a remarkable young man and talented musician. It explains how Luke became aware of his different and special status and how he learnt to manage this. It also contains a self help manual for all young people which is designed to help deal with the struggles of adolescence using personalised music. This heartwarming, funny and frank account of Luke's journey gives a remarkable insight into some of the challenges but also the surprising benefits of living with Asperger syndrome. "I love my autism because I love music." Luke Fiddes

Music is central to our experience of the world around us. it is a primary source of the way we experience, understand and interpret the world in which we live. It is one of the core experiences that define us, unite us and enrich us. This book arose out of John's professional care experience and personal experience as a carer for his father who had dementia. As a musician he understood the power of music to enrich the quality of life. This practical, fun and interactive book is designed to help people to draw together those pieces of music that are most significant to them. These become a compilation that can travel with them on their dementia journey and can be used in therapeutic ways to reconnect to their memories and impact on current mood.

Having been diagnosed with a rare form of cancer John realised that specially chosen pieces of music have a major role in supporting people who are going through complex medical procedures. This book is practical, fun and interactive. It helps people to choose music that will support them in particular aspects of their treatment and to apply this therapeutically, to help cope through diagnosis, treatment and to aid healing and recovery.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This is the fifth novel portraying the life of a Lord family member, and it brings us up to date, well to 2010. Peter Lord is turning twenty-one, and as the heir to Fotheringham Manor he needs to decide both the future direction for the estate and a future for his own life. While pursuing his own future in green energy sources Peter tries an experiment on the estate to diversify the present list of activities. This change, this attempt to help a group of dis-advantaged teenagers by giving them a second chance, proves particularly challenging. Family and friends all rally round to minimise the damage and in so doing Peter unearths a previous unsolved mystery at Fotheringham. In the end Peter decides he intends to launch "Renewable Energy Expertise" as a producing and consulting company to help you help the planet. Quite some change from the rural woodland that was Fotheringham Manor in the last century.

Dear Reader, enclosed you will find a set of short stories. It includes actual events from the author's life, and imagined events from the author's mind. Fact and fiction so to speak. As with most books, except those heavy serious textbook tomes, the tales tell of personal and interpersonal emotions and actions. As the saying goes, we are not alone. Each and every one of us affects both each other and the world around us. Moreover, each and every one of us have talents, and unlike the servant who buried his given talents under a stone, the author believes that the sharing of talents can, in fact may, help someone or something somewhere. Maybe consciously or unconsciously, actively or unseen, small or enormously, each and every one of us has an opportunity to act. We could all do our bits to the best of our ability, the possible if you like, while still striving for the dream. We all have our own roads to Cuastecomate.

Henri Lord lives his life trying to manage mountaineering, money and his own sexuality, while death keeps stalking his decisions. Only when trying to emulate his mountaineering parents can Henri find stability within himself. Climbing brings him joy and peace of mind. His professional career as a financial investor excites him with a passion, especially with other people's money. However, there is always additional financial pressure as Henri can not understand or accept the Lord family culture of primogeniture, and he desperately wants his share of the family fortune. As he struggles to find himself Henri has to overcome his uncertainty about his own sexuality. Eventually, out of the chaos of his indecisions, Henri tries to act in accordance with the traditions of the Lord family, helped by his sister Giselle. Events involving Henri, the Lord family, murder and mayhem climax in London at the end of the millennium.

Gloria Manson returns home from London to find her mother has become a penitent recluse. While working in the village pub and flirting with old school mates Gloria tries to bring her mother back into reality. Some friends from London come down to the village and help Gloria with her mother and cause her to restart her London career in a new location. Most of the action takes place in Fotheringham Manor Estate where school friends Gary and Freddie work. This Estate is the home of the Lord family where son Daniel is the resident manager. Hikers trespass through the Estate causing damage and upsets to both Daniel and his forester girl friend Katya. These hikers and the new Education Centre on the Estate mean there are more people in the forest and this constrains some of Gloria's plans. Daniel's sister, Samantha is a partner in Heritage Adventures, a company who helps tourists find their pasts, and she in turn upsets some of Gloria's activities. Over time the various parties clash through misunderstandings, jealousy, confessions, and fights and ultimately murder.

Jimmy Porter, frustrated and bitter in his drab flat, lives with middle-class wife Alison. Also sharing the flat is Cliff who keeps things tenuously together. Alison's friend Helen arrives and persuades her to leave Jimmy only to fall for him herself. When Alison becomes pregnant Helen leaves them together. This play originally opened at the Royal Court Theatre in 1956 and has since proved to be a milestone in the history of theatre.

In 1956 John Osborne's Look Back in Anger changed the course of English theatre. 'Look Back in Anger presents post-war youth as it really is. To have done this at all would be a significant achievement; to have done it in a first play is a minor miracle. All the qualities are there, qualities one had despaired of ever seeing on stage - the drift towards anarchy, the instinctive leftishness, the automatic rejection of "official" attitudes, the surrealist sense of humour... the casual promiscuity, the sense of lacking a crusade worth fighting for and, underlying all these, the determination that no one who dies shall go unmourned.' Kenneth Tynan, Observer, 13 May 1956 'Look Back in Anger... has its inarguable importance as the beginning of a revolution in the British theatre, and as the central and most immediately influential expression of the mood of its time, the mood of the "angry young man".' John Russell Taylor

Drama

Adapted by John Osborne from the novel by Oscar Wilde.

Characters: 11 male, 4 female, extras.

Interior Set

The author of Look Back in Anger, Inadmissible Evidence and The Entertainer has created a brilliant dramatization of this classic about a man who retains his youth while the decay of advancing years and moral corruption appears on a portrait painted by one of his lovers. "Osborne has done much more than a scissors and paste job on Wilde's famous story. He has ... created a sense of evil through implication." Guardian. "John Osborne ... has found in Oscar Wilde's macabre morality a velveted barouche for his own favorite themes [and he] conveys the fabulous story['s] ... fascination." Daily Telegraph.

Set against the backdrop of post-war Britain, John Osborne's The Entertainer conjures the seedy glamour of the old music halls for an explosive examination of public masks and private torment. First staged at the Royal Court Theatre, London, only eleven months after the opening of Look Back in Anger, the play has become a classic of twentieth-century drama.

Archie Rice is a failure as a comedian. News of his son's death while on military service arrives as the family is anticipating his return with a party. Archie tries to stage a comeback for his befuddled, has-been father who, mercifully, dies in the attempt. A prosperous brother offers to send the family to Canada but Archie cannot leave the decaying world of the music hall, where he is at home.3 women, 5 men

What was German Naturalism? What were its achievements? How does it compare with its counterparts in other European countries?
These are some of the difficult questions addressed by John Osborne in Gerhart Hauptmann and the Naturalist Drama, a revised and updated version of his The Naturalist Drama in Germany, now widely acknowledged as the standard introduction to the subject. The debates to which he contributed, and in some cases initiated, on Naturalism in the German theatre, Naturalist theory in Germany, and the development of the Naturalist movement to the contemporary Social Democrat movement, have remained central issues. This revised edition preserves the structure and approach of the original, including its emphasis on the early dramas of Hauptmann, while taking full account of subsequent scholarship which provides the context in which this Naturalist playwright's work can be placed.

This book addresses a critical era in the history of the city of Rome, the eighth century CE. This was the moment when the bishops of Rome assumed political and administrative responsibility for the city's infrastructure and the physical welfare of its inhabitants, in the process creating the papal state that still survives today. John Osborne approaches this using the primary lens of 'material culture' (buildings and their decorations, both surviving and known from documents and/or archaeology), while at the same time incorporating extensive information drawn from written sources. Whereas written texts are comparatively few in number, recent decades have witnessed an explosion in new archaeological discoveries and excavations, and these provide a much fuller picture of cultural life in the city. This methodological approach of using buildings and objects as historical documents is embodied in the phrase 'history in art'.

St Peter's Basilica in Rome is arguably the most important church in Western Christendom, and is among the most significant buildings anywhere in the world. However, the church that is visible today is a youthful upstart, only four hundred years old compared to the twelve-hundred-year-old church whose site it occupies. A very small proportion of the original is now extant, entirely covered over by the new basilica, but enough survives to make reconstruction of the first St Peter's possible and much new evidence has been uncovered in the past thirty years. This is the first full study of the older church, from its late antique construction to Renaissance destruction, in its historical context. An international team of historians, art historians, archaeologists and liturgists explores aspects of the basilica's history, from its physical fabric to the activities that took place within its walls and its relationship with the city of Rome.

Medieval Rome was uniquely important, both as a physical city and as an idea with immense cultural capital, encapsulating the legacy of the ancient Empire, the glorious world of the martyrs and the triumph of Christian faith. Rome Across Time and Space explores these twin dimensions of 'place' and 'idea' and analyses Rome's role in the transmission of culture throughout the Middle Ages. Ranging widely over liturgy, architecture, sculpture and textual history, the authors focus on the mutual enrichment derived from the exchange of ideas and illuminate how cultural exchanges between Rome and its 'neighbours' (Byzantium, Italy, England and France), and within Rome (between Ancient and early Christian Rome and the medieval city) worked as catalysts for change, both to shape the medieval city and to help construct the medieval idea of Rome itself. The result is a rich and original perspective on a beguiling city with enduring appeal.

St Peter's Basilica in Rome is arguably the most important church in Western Christendom, and is among the most significant buildings anywhere in the world. However, the church that is visible today is a youthful upstart, only four hundred years old compared to the twelve-hundred-year-old church whose site it occupies. A very small proportion of the original is now extant, entirely covered over by the new basilica, but enough survives to make reconstruction of the first St Peter's possible and much new evidence has been uncovered in the past thirty years. This is the first full study of the older church, from its late antique construction to Renaissance destruction, in its historical context. An international team of historians, art historians, archaeologists and liturgists explores aspects of the basilica's history, from its physical fabric to the activities that took place within its walls and its relationship with the city of Rome.

Intended as a sequel to Rome in the Eighth Century (Cambridge, 2020), this survey of the material culture of the city of Rome spans the period from the imperial coronation of Charlemagne in 800 to the nadir of the fortunes of the Roman Church a century later. The evidence of standing buildings, objects, historical documents, and archaeology is brought together to create an integrated picture of the political, economic, and cultural situation in the city over this period, one characterized initially by substantial wealth resulting in enormous patronage of art and architecture, but then followed by almost total impoverishment and collapse. John Osborne also attempts to correct the widespread notion that the Franco-papal alliance of the late eighth century led to a political and cultural break between Rome and the broader cultural world of the Christian eastern Mediterranean. Beautifully illustrated, this book is essential for everyone interested in medieval Rome.