Unique gift, gratuity, reward, or prize for yourself or for the Shakespeare teachers, students, actors, and other bardolators in your life! . . . Blank, lined notebook that can be used for school or work or as a diary or journal. . . . 134 pages; 6x9 inches; white paper; matte-finished cover. . . . Look for other Sam Diego designs.

'And when I shall die, Take him and cut him out in little stars.' This collection of Shakespeare's soliloquies, including both old favourites and lesser-known pieces, shows him at his dazzling best. One of 46 new books in the bestselling Little Black Classics series, to celebrate the first ever Penguin Classic in 1946. Each book gives readers a taste of the Classics' huge range and diversity, with works from around the world and across the centuries - including fables, decadence, heartbreak, tall tales, satire, ghosts, battles and elephants.

The show crept into town late one dark October night to the eerie whine of a calliope. In the terrifying days that followed, everything changed... Two boys stumbled onto the first of the secrets - the nightmare merry-go-round that produced the grisly turnabout of human beings. But not until they actually became part of the dance of death did they discover the final mystery of all...

Rebecca Reisert's mesmerizing first novel re-imagines Macbeth, Shakespeare's classic tragedy of power and madness, through the eyes of a mysterious young woman on a dangerous quest for vengeance. For the girl called Gilly, life in the wilds of Birnam Wood is little more than a desperate struggle for survival. Seven long years have passed since she was first taken in and sheltered by Nettle and Mad Helga, the hut-dwelling wise-women whose inscrutable powers of alchemy and prophecy are feared and reviled throughout good King Duncan's kingdom. Living under the threat of deadly persecution by witch-hunting villagers, the threesome ekes out a life by peddling potions and elixirs, scavenging for food, and robbing the bloodied corpses of Scotland's battle-scarred hills for precious metals and weapons. But Gilly is haunted by recollections of a much brighter life. She clings to fading memories of a time when she was contented and adored -- until tragedy swept all that happiness away and young Gilly's life was changed forever. I have made my life an arrow, and His heart is my home. I have made my heart a blade, and His heart is my sheath....Obsessed with avenging her loss and putting out the fire that still rages in her heart, Gilly has dedicated herself to destroying Macbeth, the boundlessly ambitious man who took away her childhood, and his goading wife. Disguising herself as a poor servant boy, she insinuates herself into their lives and, as she bears horrified witness to Macbeth's violent path to power, Gilly subtly begins to take a hand in the forces governing his fate. But as the culmination of her revenge draws near, Gilly finds her own life at risk when she confronts the troubling legacy of a long-concealed heritage. The Third Witch is a brilliantly imagined, wonderfully satisfying novel. In a riveting story of ruthlessness and revenge, debut author Rebecca Reisert demonstrates a profound understanding of the Bard's timeless drama -- and of the real-life Macbeth upon whom Shakespeare's incarnation is modeled.

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

This volume examines the rise of an emerging sport as a grassroots effort (or “new social movement”), arguing that the growth of non-normative sports movements occurs through two social processes: one driven primarily by product development, commercialization, and consumption, and another that relies upon public resources and grassroots efforts. Through the lens of disc golf, informed by the author’s experience both playing and researching the sport, Joshua Woods here explores how non-normative sports development depends on the consistency of insider culture and ideology, as well as on how the movement navigates a broad field of market competition, government regulation, community characteristics, public opinion, traditional media, social media and technological change. Throughout, the author probes why some sports grow faster than others, examining cultural tendencies toward sport, individual choices to participate, and the various institutional forces at play.