2nd Edition" "Little Boy Lost: Book Four" Little Boy Lost is the story of Jamie Mayfield, a golden-haired fallen angel. Dumped into a gay rehab center and shunned by his parents, the once-adored son of small-minded, small town people has had to find his own way in life. Jamie is astonished and dismayed when Brian McAllister, the boy he knows is the other half of his soul, explodes back into his precarious life. In the nearly two years they've been apart, not a day has gone by that Jamie hasn't thought of Brian, no matter how hard surviving has been. How can Jamie protect Brian from the pain and brutalization in his life when he can't even protect himself? Brian and Jamie will put every bit of themselves into saving each other, but Steven O'Dell isn't the only obstacle keeping the boys apart. Jamie's own self-hatred may prove to be their undoing. "First Edition published by Dreamspinner Press, October 2011
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1890–1899: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1890, through the 31st of December, 1899. The volume chronicles more than 3,000 productions at 31 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Alice in Wonderland, Arms and the Man, Cyrano de Bergerac, An Ideal Husband, The Prisoner of Zenda, and The Second Mrs. Tanqueray, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1890–1899 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1920–1929: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1920 through December 1929. The volume chronicles more than 4,000 productions at 51 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Bulldog Drummond, The Emperor Jones, The Enchanted Cottage, Gentlemen Prefer Blondes, Hay Fever, Saint Joan, and Six Characters in Search of an Author, as well as numerous musical comedies (British and American), foreign works, operas, and ballets, revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1920-1929 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1930–1939: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1930 through December 1939. The volume chronicles more than 4,250 productions at 61 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Barretts of Wimpole Street, French without Tears, George and Margaret, The Greeks Had a Word for It, Laburnum Grove, Lady Precious Stream, The Late Christopher Bean, Love on the Dole, Me and My Girl, Private Lives, and 1066 and All That, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1930-1939 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. Spanning 1890 through the 1950s, all seven volumes of The London Stage series have been revised, corrected, and expanded. In addition, approximately 20 percent of the material—in particular, information about adaptations and translations, plot sources, and comment information—is new. Although each volume contains indexes specific to that decade, The London Stage 1890–1959: Accumulated Indexes combines all of the indexes into one comprehensive resource for more efficient research. For example, those wishing to locate all the references to a particular actor, play, or theatre whose history spanned more than one decade will find all of the entries listed in this set. This set includes four key indexes: general, genre, theatre, and title. The general index consists of numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. With approximately 40,000 people listed, this is the largest single source of theatrical personnel on the London stage during this period. The genre index comprises all entries for production types, including comedies, dramas, farces, and tragedies, as well as ballets, operas, adaptations, foreign works, pantomimes, and translations. The theatre index features every building to stage a production, from the Adelphi to Wyndham’s. The title index cites 14,000 productions, identifying every work produced on stage from Domestic Economy in January 1890 to When in Rome in December 1959. As a supplement to the individual volumes, The London Stage 1890–1959: Accumulated Indexes will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of relevant newspapers and periodicals. This second edition of The London Stage 1910–1919: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1910 through December 1919. The volume chronicles more than 3,000 productions at 35 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and closing dates Number of performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as a plot description, first-night audience reception, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Chu Chin Chow, The Gaol Gate, Hindle Wakes, Justice, Kismet, Pygmalion, and Rebecca of Sunnybrook Farm, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information on adaptations and translations, plot sources, and comments—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1910–1919 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1940–1949: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1940 through December 1949. The volume chronicles more than 2,400 productions at 53 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Light of Heart, Mr. Bolfry, Perchance to Dream, Pacific 1860, Bless the Bride, The Lady’s Not for Burning, The Late Edwina Black, Outrageous Fortune, Seagulls over Sorrento, and Buoyant Billions, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1940-1949 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1950–1959: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1950, through the 31st of December, 1959. The volume chronicles more than 3,100 productions at 52 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Look Back in Anger, One Way Pendulum, The Birthday Party, A Taste of Honey, Chicken Soup with Barley, Five Finger Exercise, The Hostage, and Waiting for Godot, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1950-1959 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
A Survivor Story" "From her perch on a shelf above my bed, the doll accuses me with lifeless eyes of failing Juliette in the most heinous way imaginable, forcing me to crave the bite of his whip and the steel in his voice to drown out the ache in my chest. " For his entire life, Benjamin Martin s parents drilled into his head that he must watch out for his little sister, but one horrific night, he failed. Now, the bite of a whip, cuffs digging into his wrists, his arms and legs stretched beyond endurance, these things give him what he needs to forget his sister s violent death, at least for a while. When Ben s latest Dom casts him aside like a broken toy, he manipulates his best friend, Jude Archer, into picking up the pieces. Jude has been in love with Ben for years, but his fantasies about his friend never included whipping him. He doesn't understand why Ben needs BDSM and he worries about Ben s addiction. Most of all, he fears losing his humanity because he s already lost himself in Ben. When he s forced to trade the marks upon his soul for the pain that ravages Ben, Jude learns the real definition of submission.
What was Shakespeare thinking while he was writing Hamlet? What did he and Ben Jonson talk about when they were having a drink together? Did he meet Queen Elizabeth? What might Shakespeare have said to the formidable monarch? In The Shakespeare Diaries, J. P. Wearing, Professor Emeritus of English at the University of Arizona, blends fact with fiction to create a unique fictional autobiography of the great playwright that takes the reader into The Bard’s life like never before. The Shakespeare Diaries provides a window into Shakespeare’s world—his day-to-day life, his work, his friends and associates, and his view of daily events—thus giving readers a vivid impression of the Elizabethan era and Shakespeare’s role within that society. Writing in diary form, in the delightfully whimsical style of Shakespeare himself, Wearing incorporates many fragments of lines and phrases from The Bard’s plays and poems. Fascinating endnotes provide further annotation and information for those readers who wish to know more. Readers new to Shakespeare will be drawn in by such an intimate portrait, while seasoned aficionados (students, teachers, scholars, actors, and theatre-goers) will relish this fresh, offbeat approach to the man and his work.
Men, ideas and tanks reviews the development of British military ideas on armoured forces from 1903 to 1939. Great Britain was the nation which first developed the tank, first used it in action and first gained dramatic results by employment. The British continued to be world leaders in the field of mechanised warfare until the early 1930s. Now available in paperback for the first time, J. P. Harris original work offers new interpretations of the early history of British armoured forces and explains why Great Britain had lost the lead by the outbreak of the Second World War. This work will be of interest to all those concerned with British military history in the first half of the twentieth century, with the history of mechanised warfare and with the history of military thought.
A revolutionary guide to optimizing your brain and becoming the best version of yourself. "A hands-on manual for influencing human happiness through your own biology. It doesn't get any better than this!"—Thomas Erikson, author of Surrounded by Idiots: The Four Types of Human Behavior Neurochemicals affect just about everything in our bodies, including how we think and feel. David J. P. Phillips, an internationally acclaimed Swedish public speaker and coach, guides you through ways to harness the immense power of your mind and optimize your body's chemical factory by diving deep into six neurochemicals and how they can transform your life from within. Already an international bestseller, High on Life is a mood manual that will guide you through how to use these six key substances naturally produced by your body to create a unique recipe to transform your life. If you're struggling to feel motivated or finding it hard to enjoy the small things in life, learning how to balance dopamine will help you feel more motivated. Dialing up your oxytocin will fill your cup up with compassion, generosity and a sense of connectedness with the world and people around you. If the mood rollercoaster is something you desperately want to get off, focus on serotonin, the hormone that serves as a foundation of long-lasting happiness and harmony. Feeling good but missing that extra nudge to challenge yourself a bit more? Cortisol produced in small doses can help you break out of your comfort zone—and get excited about it. When nothing really happens, anyone can get a little bit bored. Have a laugh, smile more, or sweat it out and get those endorphins flowing. Or if you want to walk into an important meeting oozing confidence, testosterone is your ally. Just be careful not to boost it when making important life decisions. A mood manual that will transform how we think and feel, this book is for anyone who wants to feel high on life—naturally.
A well-dressed young man makes his way into the Bald Faced Stag Inn, Putney Vale, London and books lodging for a few nights. With a wide smile and gracious pleasantries, he takes his key from the unsuspecting innkeeper. Little does the innkeeper know, this young man is about to embark on a journey that is, to say the least, defiant, unpleasant and often shocking. It soon becomes apparent that he’s not all that he appears to be. Damn your eyes...Stop! Tells the story of Lewis Jeremiah Avershaw, a notorious highwayman who terrorised travellers in the late 18th century. His short life was one of terror and violence that led to the inevitable conclusion...the gallows.
For centuries, London theatre has celebrated a rich and influential history, and in 1976, the first volume of J. P. Wearing’s reference series provided scholars and other researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The London Stage 1900-1909 A Calendar of Productions, Performers, and Personnel, Second Edition provides a chronological calendar of London shows from January 1900 through December 1909. The volume chronicles more than 3,000 productions at 35 selected, major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and references to reviews. A comment section includes other interesting information, such as a plot description, the first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Candida, His House in Order, The Only Way, The Playboy of the Western World, Raffles (The Amateur Cracksman), and The Scarlet Pimpernel, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original, well-received calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are indexed fully by title, genre, and theatre. A general index also includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, ticket prices, or other relevant subjects. An authoritative reference providing essential details, this work will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
First published in 1973, On Realism is a comprehensive introduction to the complex problem of literary realism. Written from both a critical and philosophical perspective, the book brings together the concrete study of literary cases and the conceptual analysis of the terms used in describing them. It uses examples drawn from a wide range of European literature and engages in philosophical discussion to argue for a richer and freer sense of the concept than was more commonly in favour at the time of writing. The book describes the literary forms of realism as an art of the 'middle distance' and sets out its character and value against alternatives and distortions - symbolism, naturalism, socialist realism, faits divers, and the literature of language consciousness. On Realism will appeal to those with an interest in literary history, the history of literary theory, and literature and philosophy.
The Man From Waukegan is a man born and raised in an industrial town halfway between Milwaukee and Chicago. Thirty years ago he graduated from its high school and left for foreign adventure. Twenty years ago he returned home to enlist in his childhood goal of the US Marines. He later left his twin homes of Waukegan and the Marines for a new life in Australia. Ten years ago both his parents died and he returned to Waukegan to bury them and sell their home. He had not returned until the Indian Summer of October 2003. The Man From Waukegan spends a two-week trip meeting his old friends and walking in his old haunts that lead to self-discovery. He learns that not only do some things in the outwardly transformed Waukegan never change, but that the new inhabitants from different States and countries subconsciously adopt and preserve the traditions of the Waukegan he knew.
Little Boy Lost, Book One Little Boy Lost is the story of Brian McAllister, the boy next door. Brian goes to school, does his homework, and helps his foster parents around the house. Brian also has a secret: he is in love with his best friend, Jamie. But in Crayford, Alabama, being in love with another boy is the worst kind of sin. Brian and Jamie will discover just how deep their emotional bond runs, and at what cost. What will they do if their secret is discovered? From fumbling through their first sexual experiences to hiding all aspects of their relationship from everyone in their lives, Brian and Jamie battle for the one thing that is truly theirs-love.
Little Boy Lost Book #3 Brian McAllister's story continues in San Diego, where he finds so much more than he ever expected: acceptance, friends, encouragement, and an entire world of sexual adventure he'd never dared to imagine back in his small Alabama town. He continues to search for one lost boy in a sea of humanity but slowly begins to realize that maybe dreams really don't come true. Encouraged by new friends Mike and Emilio, Brian struggles to find work and keep his spirits up while his hope of finding Jamie starts to falter. But when life comes crashing down, he's desperate to keep his new life. Can Brian do the unthinkable to remain in California when his money runs out? When Brian meets a beaten and bruised boy no one seems willing to help, he knows that walking away is no longer an option.
Little Boy Lost, Book Four" Little Boy Lost is the story of Jamie Mayfield, a golden-haired fallen angel. Dumped into a gay rehab center and shunned by his parents, the once-adored son of small-minded, small town people has had to find his own way in life. Jamie is astonished and dismayed when Brian McAllister, the boy he knows is the other half of his soul, explodes back into his precarious life. In the nearly two years they've been apart, not a day has gone by that Jamie hasn't thought of Brian, no matter how hard surviving has been. How can Jamie protect Brian from the pain and brutalization in his life when he can't even protect himself? Brian and Jamie will put every bit of themselves into saving each other, but Steven O'Dell isn't the only obstacle keeping the boys apart. Jamie's own self-hatred may prove to be their undoing.
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