This play follows the course of World War II as experienced by a working-class family in Newcastle, each scene being opened by a member of the family addressing the audience or singing a song of the period. In wartime there are no public worries, only private worries, and this story of the family's personal relationships, preoccupations, troubles and joys suggests, perhaps, the reason why, with all the perils and troubles besieging it, the human race will continue to survive.3 women, 4 men
'Wondering and wonderful. The nature book of the year.' JOHN LEWIS-STEMPEL 'This lovely book is almost as thrilling as the bird's immortal song - balm for a troubled soul and a glimpse of paradise.' JOANNA LUMLEY ______________________________ Come to the forest, sit by the fireside and listen to intoxicating song, as Sam Lee tells the story of the nightingale. Every year, as darkness falls upon woodlands, the nightingale heralds the arrival of Spring. Throughout history, its sweet song has inspired musicians, writers and artists around the world, from Germany, France and Italy to Greece, Ukraine and Korea. Here, passionate conservationist, renowned musician and folk expert Sam Lee tells the story of the nightingale. This book reveals in beautiful detail the bird's song, habitat, characteristics and migration patterns, as well as the environmental issues that threaten its livelihood. From Greek mythology to John Keats, to Persian poetry and 'A Nightingale Sang in Berkeley Square', Lee delves into the various ways we have celebrated the nightingale through traditions, folklore, music, literature, from ancient history to the present day. The Nightingale is a unique and lyrical portrait of a famed yet elusive songbird. ______________________________ 'Sam Lee has brought the poetic magic that has long enchanted so many of his musical fans into the written word. Allow yourself to glimpse the world Sam sees, to be part of his love affair with the nightingale, and you will no doubt be delighted.' LILY COLE 'A wonderful book.' STEPHEN MOSS 'A magical marriage of the lyrical and practical: a book that makes us want to seek out the nightingale and then reveals how we can.' TRISTAN GOOLEY
Dejected and jobless like so many other Servicemen after the end of the Great War of 1914-18, Tybalt Hampton escapes a ball in Berkeley Square and meets a delightful young girl who has also sought refuge in the little Temple in the nearby gardens because no one has asked her to dance.It is too dark to make out her face, but in an enchanted moment they kiss in the moonlight and a nightingale sings in the trees above as if just for them.Two years later the beautiful Aleta Wayte, the recipient of that anonymous kiss, and her brother, Sir Harry Wayte, are forced to let their beloved ancestral mansion to a millionaire American called Cornelius Wardolf, disguising themselves as servants in their own home and at their tenant’s beck and call.Of noble birth but penniless, Aleta still dreams of that handsome stranger. So, when Fate in the form of a road accident brings him injured to her door, her hopes are raised and then instantly dashed. In her guise as a lowly servant how can she reveal herself as Tybalt Hampton is now the fifth Duke of Stadhampton and anyway, because of his impoverished estates, he has been earmarked by Cornelius Wardolf to marry his attractive daughter, Lucy-May?Is it possible that Fate could be so cruel as to bring love so close only to snatch it away?
Good is a story about a liberal-minded university professor who drifts well-meaningly into a position in the upper reaches of the Nazi administration. It is a profound and alarming examination of passivity and the rationalisation of evil. John Halder, a professor of literature, seems to be a good man; he diligently visits his blind and senile mother and looks after his vacant wife and three children. He is unremarkable, other than an unusual neurotic tic: the imaginary sound of band music plays in the background of his life, particularly at moments of high emotion. But by writing a book – the result of his own experience – discussing euthanasia for senile elderly people and by lecturing on the delicacy of German literary culture, John has unintentionally made himself a very desirable acquisition for the Nazi party. By rationalised and intellectually reasoned steps he is absorbed into the direction of the death camps, a transformation all the more chilling because it does not seem dramatic, until the last horrible resounding note of the play. Good is a structured stream of consciousness, punctured by the musical medley that plays inside Halder's head. The first production was staged at the London Warehouse in 1982. And A Nightingale Sang . . . opens on a house in Newcastle-Upon-Tyne filled with well-meant and bustling domestic chaos. Set just before the beginning of the war, the scenes are partly related by Helen, who is stoical and self-deprecating and walks with a limp. Her grandfather Andie is recruiting mourners to attend the burial of his dog; her devout Catholic mother is fretting about the health of the local priest; her father is serenading an unwilling audience with the popular songs that light up the whole play. Joyce, Helen's younger, prettier sister is dithering over whether to accept a marriage proposal from Eric, who is being deployed to France. Helen, depended on for guidance by the whole family, has never had any attention from men – until she meets Norman, who shows her that she can waltz and fall in love. But for all the family, nothing can be the same after the war. And A Nightingale Sang . . . was first staged in 1977 by Live Theatre in Newcastle-Upon-Tyne, and was presented in this version at the Queen's Theatre, London, in 1979.
From the Nordic noir duo who brought you The New York Times bestseller The Boy in the Suitcase comes a chilling new thriller with a mystery seventy-years in the making. Nina. Natasha. Olga. Three women united by one terrifying secret. But only one of them has killed to keep it. Natasha Doroshenko, a Ukrainian woman who has been convicted for the attempted murder of her Danish ex-fiancé, escapes police custody on her way to an interrogation in Copenhagen’s police headquarters. That same night, the ex-fiancé’s frozen, tortured body is found in a car. It isn’t the first time the young Ukrainian woman has lost a partner to violent ends: her first husband was murdered three years earlier in Kiev in the same manner. Danish Red Cross nurse Nina Borg has followed Natasha’s case for years now, ever since Natasha first took refuge at her crisis center. Nina just can’t see the young mother as a vicious killer. But in her effort to protect Natasha’s daughter and discover the truth, Nina realizes there is much she didn’t know about Natasha and her past. The mystery has long and bloody roots, going back to a terrible famine that devastated Stalinist Ukraine in 1934, when a ten-year-old girl with the voice of a nightingale sang her family into shallow graves.
Mabey explores the nightingale's link with Suffolk culture and landscape and traces the bird's course through myth, lore and tradition. He plumbs his subject for its fascinating literary and historical references and opens the readers ears to the bird itself and its extraordinary song.
“Dralyuk’s new translation of Sentimental Tales, a collection of Zoshchenko’s stories from the 1920s, is a delight that brings the author’s wit to life.”—The Economist Mikhail Zoshchenko’s Sentimental Tales are satirical portraits of small-town characters on the fringes of Soviet society in the first decade of Bolshevik rule. The tales are narrated by one Kolenkorov, a writer not very good at his job, who takes credit for editing the tales in a series of comic prefaces. Yet beneath Kolenkorov’s intrusive narration and sublime blathering, the stories are genuinely moving. They tell tales of unrequited love and amorous misadventures among down-on-their-luck musicians, provincial damsels, aspiring poets, and liberal aristocrats hopelessly out of place in the new Russia, against a backdrop of overcrowded apartments, scheming, and daydreaming. Zoshchenko’s deadpan style and sly ventriloquy mask a biting critique of Soviet life—and perhaps life in general. An original perspective on Soviet society in the 1920s and simply uproariously funny, Sentimental Tales at last shows Anglophone readers why Zoshchenko is considered among the greatest humorists of the Soviet era. “A book that would make Gogol guffaw.”—Kirkus Reviews “If you find Chekhov a bit tame and want a more bite to your fiction, then you need a dose of Zoshchenko, the premier Russian satirist of the twentieth century . . . Snap up this thin volume and enjoy.”—Russian Life “Mikhail Zoshchenko masterfully exhibits a playful seriousness. . . . Juxtaposing joyful wit with the bleakness of Soviet Russia, Sentimental Tales is a potent antidote for Russian literature’s dour reputation.”—Foreword Reviews “Superb.”—Los Angeles Review of Books
