Meet Cassandra, the newest student at Mount Olympus Academy! She has an amazing talent—but will her new friends believe her? This Goddess Girls story is based on the myth of Cassandra, who has the gift of seeing the future—except no one believes her. Can Apollo, the god of prophecy, help his new crush?

Chuck Calderon was born in Cali, Colombia. He migrated to Chicago, Illinois at the age of four to live with his mother and sister. Chuck's formal education all took place in Chicago from Grammar School, to High school and finally College. He has been employed through the years in the bank industry, as a cab driver, as an outside salesman and also as a small business owner. He began writing poetry and prose in Highschool. He freely admits his writing style is influenced by Ernest Hemingway (More in Attitude).His stories draw on his Chicago roots and his catholic upbringing showing his perspective of a flawed man in an even more flaw world. Chuck at this time, has begun his second novel dealing with prejudices and racism in the world of the games against today's society.

Greek and Roman epic poetry has always provided creative artists in the modern world with a rich storehouse of themes. Tim Supple and Simon Reade's 1999 stage adaptation of Ted Hughes' Tales from Ovid for the RSC heralded a new lease of life for receptions of the genre, and it now routinely provides raw material for the performance repertoire of both major cultural institutions and emergent, experimental theatre companies. This volume represents the first systematic attempt to chart the afterlife of epic in modern performance traditions, with chapters covering not only a significant chronological span, but also ranging widely across both place and genre, analysing lyric, film, dance, and opera from Europe to Asia and the Americas. What emerges most clearly is how anxieties about the ability to write epic in the early modern world, together with the ancient precedent of Greek tragedy's reworking of epic material, explain its migration to the theatre. This move, though, was not without problems, as epic encountered the barriers imposed by neo-classicists, who sought to restrict serious theatre to a narrowly defined reality that precluded its broad sweeps across time and place. In many instances in recent years, the fact that the Homeric epics were composed orally has rendered reinvention not only legitimate, but also deeply appropriate, opening up a range of forms and traditions within which epic themes and structures may be explored. Drawing on the expertise of specialists from the fields of classical studies, English and comparative literature, modern languages, music, dance, and theatre and performance studies, as well as from practitioners within the creative industries, the volume is able to offer an unprecedented modern and dynamic study of 'epic' content and form across myriad diverse performance arenas.

Is the future set like concrete, or a piece of clay we can mould and change? On a remote farm in Queensland Cassie Shultz feels useless. Her perfect brother Alex has an uncanny ability to predict the weather, and the fortunes of the entire family hinge upon his forecasts. However, her own gift for prophecy remains frustratingly obscure. Attempts to help her family usually result in failure. After meeting with her new genius neighbor Athena, Cassie thinks she has unlocked the secret of her powers. But as her visions grow more vivid, she learns that the cost of honing her gift may be her sanity. With her family breaking apart, the future hurtles towards Cassie faster than she can comprehend it.

This anthology presents annotated scripts of four major burlesques by key playwrights: Melodrama Mad! or, the Siege of Troy by Thomas John Dibdin (1819); Telemachus; or, the Island of Calypso by J.R. Planché (1834); The Iliad; or, the Siege of Troy by Robert Brough (1858) and Ulysses; or the Ironclad Warriors and the Little Tug of War by F.C. Burnand (1865). Beloved legend, archaeological riddle and educational staple: Homer's epic tales of the Trojan War and its aftermath were vividly reimagined in nineteenth-century Britain. Classical burlesques-exceptionally successful theatrical entertainments-continually mined the Iliad and Odyssey to lucrative comic effect. Burlesques combined song, dance and slapstick comedy with an eclectic kaleidoscope of topical allusions. From namedropping boxing legends to recasting Shakespearean combats, epic adaptations overflow with satirical commentary on politics, cultural highlights and everyday current affairs. In uncovering Homer's irreverently playful afterlife, this selection showcases burlesque's development and wide appeal. The critical introduction analyses how these plays contested the accessibility of classical antiquity and dramatic performance. Textual and literary annotations, with contemporary illustrations, illuminate the juxtaposed sources to establish these repackaged epics as indispensable tools for unlocking nineteenth-century social, cultural and political history. Resources for further study are available online.

Praise for the previous editions:"Clearly the best reference work on the subject now available."