Jimmy Porter, frustrated and bitter in his drab flat, lives with his 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 the couple. This play originally opened at the Royal Court Theatre in 1956 and has since proved to be a milestone in the history of theater.

The nineties was the decade when British culture reclaimed its position at the artistic centre of the world. Not since the 'Swinging Sixties' had art, comedy, fashion, film, football, literature and music interwoven into a blooming of national self-confidence. It was the decade of Lad Culture and Girl Power; of Blur vs Oasis. When fashion runways shone with British talent, Young British Artists became household names, football was 'coming home' and British film went worldwide. From Old Labour's defeat in 1992 through to New Labour's historic landslide in 1997, Don't Look Back In Anger chronicles the Cool Britannia age when the country united through a resurgence of patriotism and a celebration of all things British. But it was also an era of false promises and misplaced trust, when the weight of substance was based on the airlessness of branding, spin and the first stirrings of celebrity culture. A decade that started with hope then ended with the death of the 'people's princess' and 9/11 - an event that redefined a new world order. Through sixty-eight voices that epitomise the decade - including Tony Blair, John Major, Noel Gallagher, Damon Albarn, Tracey Emin, Keith Allen, Meera Syal, David Baddiel, Irvine Welsh and Steve Coogan - we re-live the epic highs and crashing lows of one of the most eventful periods in British history. Today, in an age where identity dominates the national agenda, Don't Look Back In Anger is a necessary and compelling historical document.

Look Back in Anger is one of the few works of drama that are indisputably central to British culture in general, and its name is one of the most well-known in postwar cultural history. Its premiere in 1956 sparked off the first "new wave" of kitchen-sink drama and the cultural phenomenon of the angry young man. The play's anti-hero, Jimmy Porter, became the spokesman of a generation. Osborne's play is a key milestone in "new writing" for British theatre, and the Royal Court-which produced the play-has since become one of the most important new writing theatres in the UK.

John Osborne's first volume of autobiography was acclaimed on its first publication as a contemporary classic. It is now reissued as a Faber paperback for the first time.

In 1971 a young French ethnologist named Francois Bizot was taken prisoner by forces of the Khmer Rouge who kept him chained in a jungle camp for months before releasing him. Four years later Bizot became the intermediary between the now victorious Khmer Rouge and the occupants of the besieged French embassy in Phnom Penh, eventually leading a desperate convoy of foreigners to safety across the Thai border. Out of those ordeals comes this transfixing book. At its center lies the relationship between Bizot and his principal captor, a man named Douch, who is today known as the most notorious of the Khmer Rouge’s torturers but who, for a while, was Bizot’s protector and friend. Written with the immediacy of a great novel, unsparing in its understanding of evil, The Gate manages to be at once wrenching and redemptive.