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For some 20 years at the beginning of the century J M Barrie enjoyed enormous commercial success with a wide variety of plays, but he is best known for Peter Pan. It retains its popularity today, both in the original and in adaptations. As well as being the author of the greatest of all children's plays Barrie also wrote sophisticated social comedy and political satire, much of it now newly topical. The Admirable Crichton and What Every Woman Knows are shrewd and entertaining contributions to the politics of class and gender, while Mary Rose is one of the best ghost stories written for the stage. Under the General Editorship of Michael Cordner, of the University of York, the texts of the plays have been newly edited and are supplemented with a scholarly introduction and detailed annotation.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

The Father; A Dream Play; Miss Julie; The Ghost Sonata; The Dance of Death 'Ibsen can sit serenely in his Doll's House,' Sean O'Casey remarked, 'while Strindberg is battling with his heaven and his hell.' Strindberg was one of the most extreme, and ultimately the most influential theatrical innovators of the late nineteenth century. The five plays translated here are those on which Strindberg's international reputation as a dramatist principally rests and this edition embraces his crucial transition from Naturalism to Modernism, from his two finest achievements as a psychological realist, The Father and Miss Julie, to the three plays in which he redefined the possibilities of European drama following his return to the theatre in 1898. Michael Robinson's highly performable translations are based on the authoritative texts of the new edition of Strindberg's collected works in Sweden and include the Preface to Miss Julie, Strindberg's manifesto of theatrical naturalism. Introduction Textual Note Bibliography Chronology Explanatory Notes

When a large plane is hijacked, the Prime Minister looks at the list of passengers and suddenly becomes very, very frightened. There is a name on the list that the Prime Minister knows very well - too well. There is someone on that plane who will soon be dead - if the hijackers can find out who he is! And there isn't much time. One man lies dead on the runway. In a few minutes the hijackers will use their guns again. And the Prime Minister knows who they are going to kill.

On a beautiful summer evening in the quiet town of Marlow, a young woman is walking home from church. She passes a man who is looking at the engine of his car. He turns round, smiles at her ...and throws acid into her face. Then her father, the scientist George Ashton, disappears. And her sister, Penny, discovers that her husband-to-be, Malcolm, is a government agent. Why has Ashton disappeared, and why is Malcolm told to hunt for him? Who is George Ashton, anyway? And who is the enemy?

'Please, Mr Murdstone! Don't beat me! I've tried to learn my lessons, really I have, sir!' sobs David. Although he is only eight years old, Mr Murdstone does beat him, and David is so frightened that he bites his cruel stepfather's hand. For that, he is kept locked in his room for five days and nights, and nobody is allowed to speak to him. As David grows up, he learns that life is full of trouble and misery and cruelty. But he also finds laughter and kindness, trust and friendship ...and love.

High up on a stone seat in the great open-air theatre of Athens, Alexis, son of Leon, watches the Festival of Plays - and dreams of seeing his own play on that famous stage. So, as the summer passes, Alexis writes his play for the next year's Festival. But then, with his friend Corinna, he learns that Athens has enemies - enemies who do not like Athenian democracy, and who are planning a revolution to end it all ...

This is the story of Karen Silkwood. It begins with her death. Why does her story begin where it should end? Certain people wanted her death to be an ending. Why? What were they afraid of? Karen Silkwood had something to tell us, and she believed that it was important. Why didn't she live to tell us? Will we ever know what really happened? The questions go on and on, but there are no answers. This is a true story. It happened in Oklahoma, USA, where Karen Silkwood lived and worked ...and died.

In 1918 in the peaceful province of Transkei, South Africa, the Mandela family gave their new baby son the name Rolihlahla - 'troublemaker'. But the young boy's early years were happy ones, and he grew up to be a good student and an enthusiastic sportsman. Who could imagine then what was waiting for Nelson Mandela - the tireless struggle for human rights, the long years in prison, the happiness and sadness of family life, and one day the title of President of South Africa?

Favourite traditional stories retold for younger learners.

With Lady Audley's Secret, Mary Elizabeth Braddon had established herself, alongside Wilkie Collins and Mrs Henry Wood, as one of the ruling triumvirate of 'sensation novelists'. Aurora Floyd (1862-3), following hot on its heels, achieved almost equal popularity and notoriety. Like Lady Audley, Aurora is a beautiful young woman bigamously married and threatened with exposure by a blackmailer. But in Aurora Floyd, and in many of the novels written in imitation of it, bigamy is little more than a euphemism, a device to enable the heroine, and vicariously the reader, to enjoy the forbidden sweets of adultery without adulterous intentions. Passionate, sometimes violent, Aurora does succeed in enjoying them, her desires scarcely chastened by her disastrous first marriage. She represents a challenge to the mid-Victorian sexual code, and particularly to the feminine ideal of simpering, angelic young ladyhood. P. D. Edward's introduction evaluates the novel's leading place among 'bigamy-novels' and Braddon's treatment of the power struggle between the sexes, as well as considering the similarities between the author and her heroine.

When his father dies a poor man, Nicholas Nickleby goes to London with his mother and sister, Kate. He hopes for help from his rich Uncle Ralph. But Ralph Nickleby is only interested in making money. So Nicholas takes a teaching job at Dotheboys Hall - a terrible school belonging to Mr Wackford Squeers. There he helps a poor boy called Smike who has no one to look after him. Leaving Dotheboys, Nicholas makes both friends and enemies on his journey towards better things. But will Smike, who travels with him, ever find the happy family life that he so dearly wants?

Outside, the night is cold and wet. Inside, the White family sits and waits. Where is their visitor? There is a knock at the door. A man is standing outside in the dark. Their visitor has arrived. The visitor waits. He has been in India for many years. What has he got? He has brought the hand of a small, dead animal - a monkey's paw. Outside, in the dark, the visitor smiles and waits for the door to open.

Sometimes the Dashwood girls do not seem like sisters. Elinor is all calmness and reason, and can be relied upon for practical, common sense opinions. Marianne, on the other hand, is all sensibility, full of passionate and romantic feeling. She has no time for dull common sense - or for middle-aged men of thirty-five, long past the age of marriage. True love can only be felt by the young, of course. And if your heart is broken at the age of seventeen, how can you ever expect to recover from the passionate misery that fills your life, waking and sleeping?

This authoritative edition was formerly published in the acclaimed Oxford Authors series under the general editorship fo Frank Kermode. It brings together a unique combination of Keats`s poetry and prose - all the major poems complemented by a genero us selection of Keats`s letters - to give the essence of his work and thinking.

Contains practical, tried-and-tested ideas and materials for planning, organizing, and carrying out project work with children aged between 5 and 13. This work combines language and skills development with activities which challenge young learners and motivate them to be independent.

Victor Frankenstein thinks he has found the secret of life. He takes parts from dead people and builds a new 'man'. But this monster is so big and frightening that everyone runs away from him - even Frankenstein himself! The monster is like an enormous baby who needs love. But nobody gives him love, and soon he learns to hate. And, because he is so strong, the next thing he learns is how to kill ...