Rohan MacVoy came to America from Scotland with only a family Biblewhich he had never openedand one change of clothing. Miryam was raised in a Jewish home to follow a strictly prescribed way of life, one that she has always struggled to understand and follow. They meet, fall in love, and marry against her parents wishes. They decide to leave the disapproval behind them to nd a new life together in the Midwest. Years later, their lives are shattered when Miryam comes face- to-face with a stranger who brings fear, anger, guilt, rejection, and love into their family.

A collection of short one-person plays featuring characters, between ten and fifteen years old, who live in or near a thirteenth-century English manor.

A groundbreaking history of worldwide English in all its dialects, differences, and linguistic delights: “Informative . . . distinctive . . . a spirited celebration.” —The Guardian In this “well-informed and appealing” work (Publishers Weekly), David Crystal puts aside the usual focus on “standard” English, and instead provides a startlingly original view of where the richness, creativity, and diversity of the language truly lies—in the accents and dialects of nonstandard English users all over the world. Whatever their regional, social, or ethnic background, each group has a story worth telling, whether it is in Scotland or Somerset, South Africa or Singapore. He reminds us that for several hundred wonderful years, there was no such thing as “incorrect” English—and traces the evolution of the language from a few thousand Anglo-Saxons to the 1.5 billion people who speak it today. Moving from Beowulf to Chaucer to Shakespeare to Dickens and the present day, Crystal puts regional speech and writing at center stage, giving a sense of the social realities behind the development of English. This significant shift in perspective enables us to understand for the first time the importance of everyday, previously marginalized, voices in our language—and provides an argument too for the way English should be taught in the future. “A work of impeccable scholarship [that] could easily serve as a standard textbook for students of linguistics, but Mr. Crystal, reaching out to a more general audience, recognizes that even the most avid reader might flinch at the sections on Old Norse grammatical influence. Cleverly, he has sprinkled the book with little digressions, set apart in boxes, that address historical mysteries, strange loanwords, interesting etymologies and the like.” —The New York Times “Learned and often provocative . . . demonstrates repeatedly that common conceptions about language are often historically inaccurate—split infinitives bothered no one until recently (likewise sentence-ending prepositions).” —Kirkus Reviews (starred review) “Simply the best introductory history of the English language family that we have. The plan of the book is ingenious, the writing lively, the exposition clear, and the scholarly standard uncompromisingly high.” —J.M. Coetzee, winner of the Nobel Prize in Literature

A new and vital form of drama blossomed in 16th-century England, blending classic Latin comedy traditions with keen satires of contemporary London life. Although Shakespeare remains the most recognizable playwright of the Elizabethan age, there were many others whose work continues to entertain and educate students of drama to this day. This anthology collects timeless comedies that both informed Shakespeare's work and took inspiration from the Bard himself. Six plays include Ben Jonson's Every Man in His Humour, the comedy that made the author's reputation; Friar Bacon and Friar Bungay by Robert Greene, a groundbreaking play in terms of multiple-plot structure; The Shoemaker's Holiday, or The Gentle Craft by Thomas Dekker, the "Dickens of English theater"; All Fools, George Chapman's sprightly romp; A Trick to Catch the Old One by Thomas Middleton, one of the era's most prolific and successful playwrights; and Eastward Ho!, a collaborative work by Chapman, Jonson, and John Marston.

'[A] deeply considered and stimulating book, informed throughout by the author's intimate knowledge of the literature and society of Shakespeare's age... ' Stanley Wells, TLS 'It is unquestionably the best Shakespearean biography of the new century' Jonathan Bate, Sunday Telegraph This major biography of Shakespeare was first published in 2001 to great critical acclaim. It remains highly regarded and much cited by critics and scholars. Its author, Katherine Duncan Jones was an advisor to William Boyd for his film about Shakespeare's life (A Waste of Shame). The book shows Shakespeare as a man among men and a writer among writers. He lives in a congested city, where he encounters disease, debt and cut-throat competition. His brilliance often makes him the object of envy and malice rather than adulation. He is a shrewd purchaser of property and shows no inclination to divert any of his wealth to charitable or altruistic ends. He appears to be more interested in relationships with well-born young men than with women. Duncan Jones takes us through the complexities of life in late Elizabethan and early Jacobean England in a compelling well-told story. For this paperback reissue, the author has written a new Preface, detailing some of the recent debates about Shakespeare's biography and identity.

The publication of the Life of St Catherine of Genoa at this moment is, for several reasons, opportune. The reading of it will correct the misconceptions of many who honestly fancy that the Catholic Church encourages a mechanical piety, fixes the attention of the soul almost, if not altogether, on outward observances, and inculcates nothing beyond a complete submission to her authority and discipline. The life of our Saint is an example of the reverse of that picture. It makes clear the truth that the immediate guide of the Christian soul is the Holy Spirit, and that her uncommon fidelity to the inspirations of the Holy Spirit, made this holy woman worthy of being numbered by the Church among that class of her most cherished children, who have attained the highest degree of Divine love which it is possible for human beings to reach upon earth. The mistake of the persons above spoken of arises from their failing to see that the indwelling Holy Spirit is the divine life of the Church, and that her sacraments have for their end to convey the Holy Spirit to the soul. It arises also from their not sufficiently appreciating the necessity of the authority and discipline of the Church, as safeguards to the soul from being led astray from the paths of the Holy Spirit. Without doubt God could have, if He had so pleased, saved and sanctified the souls of men in spite of their ignorance, perversity, and weakness, by the immediate communication and action of the Holy Spirit in their souls, independently of an external organization like the Church. But such was not His pleasure, or His plan. For His own wise reasons, He chose to establish a Church which He authorized to teach the world whatsoever He had commanded, which He promised to be with unto the end of all time, whose ministry, sacraments, and government should serve Him, as His body had, to continue and complete, by a visible means, the work of man's redemption. Hence it is an entirely false view of the nature and design of the Church to suppose that it was intended to be, or is in its action, or ever was, or ever can be, a substitute for the authority of Christ, or the immediate guidance of the Holy Spirit in the Christian soul.