A richly imaginative novel of love, loss, time and the rise and fall of a great maritime empire, that sends two thwarted lovers spiralling through the chaos of history. The story begins in 1429 on Madeira, when a peasant girl meets a boy- a Jewish outsider- from a Portuguese sailing ship. Esperança and Emmanuel know they must part when the ship sails. From that first meeting and parting, others follow... Emmanuel is in turn sailor, mapmaker, bookseller, jazz musician; Esperança an illiterate peasant, a rich girl in Faro and a clever, bookish recluse who confronts a murderer in nineteenth-century Lisbon. In twentieth-century London, Esperança is faced with a double incarnation, one of the true Emmanuel and the other a shadow. Over the centuries the couple face peril and tenderness. Each life is short. What survives is love.

The 132 poems, most of which here make their English-language debut, represent the three major languages of medieval Islam--Arabic, Persian, and Turkish--with the remainder from Hebrew. They span more than a thousand years, from the seventh to the early eighteenth century, when poetry, like so much else, was shattered and reshaped by the impact of the West. They range from panegyric and satire to religious poetry and lyrics about wine, women, and love. Lewis begins with an introduction on the place of poets and poetry in Middle Eastern history and concludes with biographical notes on all the poets.

The relationship between Gustav Mahler's career as conductor and his symphonic writing has remained largely unexplored territory with respect to his provocative re-invention of the Austro-German symphony at the turn of the twentieth century. This study offers a new account of these works by allowing Mahler's decisive contribution to the genre to emerge in light of his sustained engagement with the musical, theatrical, and aesthetic traditions of the Austrian fin de siècle. Appealing to ideas of landscape, mobility, and theatricality, Thomas Peattie elaborates a richly interdisciplinary framework that draws attention to the composer's unique symphonic idiom in terms of its radical attitude toward the presentation and ordering of musical events. The identification of a fundamental tension between the music's episodic nature and its often-noted narrative impulse in turn suggests a highly original symphonic dramaturgy, one that is ultimately characterized by an abstract theatricality.

Life was tough in England after the Second World War - at least it was for those who were not part of some particular elite, the fabulously wealthy or the tiny coterie of British film and theatre stars. Little wonder then that Elsie Lancaster, the granddaughter of a theatrical landlady, thinks of nothing else but trying to become one of that shining constellation. Surprising therefore, given their very different origins, that Oliver Plunkett shares the same ambition, for his is the pampered background of old money. Groomed from an early age by his father's theatre-mad butler, there is no other world to which Oliver aspires. No such ambition infuses his best friend, the kooky Coco Hampton. Theatre for her is all about costume, costume, costume. That they all become involved with Portly Cosgrove - sometime manager, and soon-to-be-agent - is part of the inevitable flow of theatrical life, as is the fact that they become emotionally entangled with one another. Come success or failure, the music they dance to is the distant music of fame and fortune, a tune which is often dim and, at other times, tantalisingly clear - only to fade once more.

In the first book of the Mountain Song Legacy series readers step into a small Kentucky coal mining town in the late 1800's where hope is found in the hearts of two young girls—the vibrant, red-headed Maggie MacAuley and her fragile friend Summer Rankin. When Jonathan Stuart, the latest in a succession of educators, actually wants to continue teaching in the one-room schoolhouse, then Maggie and Summer know that he is special. So when Jonathan's cherished flute is stolen, the girls try to find a way to restore music to his life. Sorrow and joy follow in the days to come, and through it all Maggie, Jonathan, and a community rediscover the gifts of faith, friendship, and unwavering love.

Fans of Louise Douglas, Dinah Jeffries and Kristin Hannah will love this heart-warming, captivating and compelling post-war saga by the million copy and Sunday Times bestselling author Charlotte Bingham. 'As comforting as a hot milky drink on a stormy night. Her legions of fans will not be disappointed.' -- DAILY EXPRESS 'Outstanding' -- ***** Reader review 'Another excellent read by Charlotte Bingham' -- ***** Reader review 'These are characters you will really care about' -- ***** Reader review 'Very enjoyable and hard to put down' -- ***** Reader review 'Incredibly well written and engrossing' -- ***** Reader review ******************************************************************************************* WHAT CAN OFFER THE ESCAPE THEY SEEK? The 1950s, post-War Britain: the only people in society who can be said to have a glamorous lifestyle are the very wealthy, the aristocracy, and people who worked in the theatre. Elsie Lancaster is the granddaughter of a hardened old professional actress who runs a seaside boarding house. Oliver is the third son of a Catholic aristocratic Yorkshire family whose mother has run off, so the theatre-mad butler has brought him up like a son to be a Great Actor. Coco Hampton, Oliver's best friend, has been raised in Sloane Street by Gladys, her profligate guardian, who is always borrowing money from Coco to buy more clothes. Gladys and Oliver have been fans of the theatre since they were knee-high, but Coco has only ever wanted to be a designer. When Coco joins Oliver at his drama school in London, to his chagrin she promptly gets cast in films because of her photogenic looks. Meanwhile, Elsie is 'discovered' in the provinces by Portly Cosgrove; shortly before meeting Oliver who promptly falls in love with her. And elsewhere, on location, Coco has her first affair with a handsome actor, which doesn't end well... A colourful cast of characters and a script you just couldn't make up...!

This study argues that the expression of voicelessness in Beckett is not silence. Rather, the negativity and negation so evident in his work are not simply affirmed, but the emptiness can all too easily itself become an affirmation of power.