A King In Disguise

Tells the story of thirteen-year-old Freddie Bloch's search for his father during the Great Depression, and illustrates how ordinary people became crazed, homeless, and violent while the nation was struggling for survival.

Søren Kierkegaard’s classic parable is the inspiration for a charming and imaginative tale of a prince who sets out to win the hand of the maiden he loves—and teaches us the extent of God’s love for us.

Søren Kierkegaard's classic parable is the inspiration for a charming and imaginative tale of a prince who sets out to win the hand of the maiden he loves-and teaches us the extent of God's love for us.

Isabelle McAvoy, private art consultant in New York City. The first half of the book focuses on her past, having three daughters with three different men and following her through each of those relationships. When the narrative switches back to present-day, Isabelle learns that she's losing her sight and hires an assistant. She bonds with each of her daughters, one in India, one in New York, and one in Tuscany, and falls in love again.

A young individual named Dylan was robbed of his youth losing everything every average young man should obtain. He was brought up having nothing having to earn everything on his own. At sixteen he was forced to live on his own holding no work experience. His only talent was music. He was introduced to the drug dealing lifestyle becoming successful. As he grew so did his money, clientele, and eventually enemies. He outsmarts the police and accumulates every young man’s dream, money, women, and respect. He ends up in the worst situation of his life receiving a lengthy prison sentence. Now knowing only the criminal lifestyle, how will he evolve? This action packed story involves deep struggles, violence, sex, and illegal distribution resulting in remedy. Suitable for teens and adults.

Features five of the author's best early stories: title selection plus "The Phantom Rickshaw," "Wee Willie Winkie," "Without Benefit of Clergy" and "The Strange Ride of Morrowbie Jukes."

A comparative study of the five types of disguises and plot patterns found in Elizabethan drama. Specifically examines the female page, the boy bride, the rogue in multi-disguise, the spy in disguise, and the lover in disguise.

Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink