> Download PDF Alan Bennett Plays One: Forty Years On, Getting On, Habeas Corpus and Enjoy (Faber Contemporary Classics), by Alan Bennett

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A collection of four Alan Bennett plays, with an introduction by the author which describes the background to their writing and performance.

• Sales Rank: #1574548 in Books
• Brand: Brand: Faber Faber
• Published on: 1996-03
• Original language: English
• Number of items: 1
• Dimensions: 7.75" h x 5.00" w x 1.00" l, .62 pounds
• Binding: Paperback
• 336 pages

Features

• Used Book in Good Condition

About the Author
Alan Bennett has been one of our leading dramatists since the success of Beyond the Fringe in the 1960s. His television series Talking Heads has become a modern-day classic, as have many of his works for the stage including Forty Years On, The Lady in the Van (together with the screenplay), A Question of Attribution, The Madness of George III (together with the Oscar-nominated screenplay The Madness of King George), and an adaptation of Kenneth Grahame's The Wind in the Willows. At the National Theatre, London, The History Boys (also a screenplay) won numerous awards including Evening Standard and Critics' Circle awards for Best Play, an Olivier for Best New Play and the South Bank Award. On Broadway, The History Boys won five New York Drama Desk Awards, four Outer Critics' Circle Awards, a New York Drama Critics' Award, a New York Drama League Award and six Tonys. The Habit of Art opened at the National in 2009; in 2012, People, as well as the two short plays Hymn and Cocktail Sticks, was also staged there. His collection of prose Writing Home was a number one bestseller. Untold Stories won the PEN/Ackerley Prize for autobiography, 2006. Bennett's Six Poets, Hardy to Larkin, An Anthology, was published in 2014. Fiction includes The Uncommon Reader and Smut: Two Unseemly Stories., ALAN BENNETT has been a leading dramatist since Beyond the Fringe in the 1960s. His works for stage and screen include Talking Heads, Forty Years On, The Lady in the Van, A Question of Attribution, The Madness of George III, an adaptation of The Wind in the Willows, The History Boys, The Habit of Art, People, Hymn and Cocktail Sticks. His previous collections of prose are Writing Home and Untold Stories (PEN/Ackerley Prize, 2006). Six Poets contains Bennett's selection of English verse, accompanied by his commentary. Recent fiction includes The Uncommon Reader and Smut: Two Unseemly Stories.

Most helpful customer reviews

6 of 6 people found the following review helpful.
Alan Bennett speaks to your head and heart...
By caliboy
Alan Bennett, master of stage & screen (both big and small) and recently with WRITING HOME very entertaining on the printed page, has covered so much emotional "turf" in his writing that it is very impressive to see the plays collected side-by-side. By turns hilarious and heart-breaking (read: 40 Years On) one can only marvel at his talent, envy his breadth, and wait impatiently for the next project to be produced. Heartily recommended to all who care about the legitimate theatre.

0 of 0 people found the following review helpful.
Bennettt's writing is incomparable and takes on back in time ...
By Shane Briant
Bennettt's writing is incomparable and takes on back in time to a very different England = the one I grew up in.

4 of 7 people found the following review helpful.
Excellent work this man is a comic genius.
By A Customer
If your the type of person that enjoys unsubtle in your face obvious humour you'll love this book. Habeas Corpus is the best play in the book, it covers a range of characters all interlinked with sex and the human body. Excellent topic coverage!

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>> PDF Ebook The Hundred Years War: Trial by Battle v. 1, by Jonathan Sumption

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• Sales Rank: #4187985 in Books
• Published on: 1990
• Format: Import
• Original language: English
• Number of items: 1
• Dimensions: 8.67" h x 2.17" w x 10.86" l,
• Binding: Hardcover
• 448 pages

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5 of 5 people found the following review helpful.
IN THE BEGINNING
By Stephen Cooper
'Trial by Battle' was the first volume in Jonathan Sumption's truly monumental history of the Hundred Years War. It tells the story from 1328 down to 1347 and the capture of Calais. The author was a don in Oxford, then a leading Queen's Counsel at the English Bar. Now, he has been made a judge of the Supreme Court, a post which it is believed he will take up once the Abramovich trial in London is over. He is obviously well used to digesting large amounts of information and summarising them in cogent form. This explains why the book is so comprehensive and so authoritative.

As he tells us in the Preface, Sumption's objective is to write grand narrative, based primarily on documentary rather than chronicle sources: he considers the chronicles `episodic, prejudiced, inaccurate and late'. He also aimed to eschew analysis, as well as the scholarly debates which so often sidetrack historians. He appears to have explored all the printed primary sources (together with a good number of the unprinted ones) and to have read all the secondary authorities; and to have pursued his researches in several countries: England, France and Spain at the least. The book is hugely enjoyable, if you are interested in the richness of history and human life and endeavour, and not prejudiced against the Middle Ages, on the grounds of supposed obscurity or obscurantism.

Stephen Cooper

4 of 4 people found the following review helpful.
A Tour de Force effort
By Shaving Aficionado
It is absolutely insane that Jonathan Sumption has taken on The Hundred Year's War, with a fresh take, while calling into doubt the accuracy and worth of previous accepted accounts, all while holding down what anyone else would consider a full time and demanding job at the height of the legal profession. This book is not for the faint of heart and I usually have to go back and re-read every 20 pages or so. Stick with it and you will be rewarded.

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@ Download Notes Towards the Definition of Culture, by T. S. Eliot

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Notes Towards the Definition of Culture, by T. S. Eliot

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This book has hardback covers.Ex-library,With usual stamps and markings,In fair condition, suitable as a study copy.No dust jacket.

• Sales Rank: #4166553 in Books
• Published on: 1948
• Format: Import
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 124 pages

Most helpful customer reviews

14 of 14 people found the following review helpful.
Modest and elusive in its rhetoric, but very important in its argument
By Richard B. Schwartz
It is quite telling that the Amazon.com review material includes the line, “The book has been viewed as a critique of postwar Europe and a defense of conservatism and Christianity.” It is that, of course, but the comment suggests that Eliot’s intentions are somewhat elusive or underplayed, as if he wished to hover about the surface and allow deeper meanings to emerge upon later reflection.

The book (a mere 120+ pp.) is indeed elusive in its argument. It is not a detailed, reasoned, sequential summoning of evidence. It is more of a phenomenology of culture, a set of observations, with a few desultory footnotes and an occasional reference to a local report.

The outlines of his thought are, however, clear. First and foremost, culture is inextricable from religion. If religion disappears utterly the culture is lost and we must proceed through an era or eras of barbarism before we can somehow begin again. We talk about culture in many ways and in many contexts. There is the panoply of material culture, e.g.—our foods, our dress, our signage; there is the pivotal role played by our language and religion; the culture of the individual, the group and the society. There are the contributory elements to our culture—the culture of other nations, the counterculture within our own culture, and so on.

Eliot takes a Blakean stance, arguing that we need a certain amount of friction to sustain our culture. We must be challenged by alternative thought and alternative traditions. We must constantly renew our culture through these challenges. There is a good bit of ‘golden mean’ rhetoric. We should avoid a monolithic culture just as we should avoid a splintering and leveling of all cultural elements. We should be wary of ‘planning’ a culture, something that is impossible anyway, because the culture that would undergird a ‘plan’ is already there, even if it is not immediately apparent.

Eliot feels most strongly the traditional cultures of the Greeks, Romans and Jews which intertwine with Christianity to produce the cultures of Europe in general and England, specifically (though England is always in need of the contributions and challenges offered by the Irish, the Scots, and the Welsh). Clearly, in his heart of hearts, he hopes for the perpetuation of a Christian culture and an established social order, but he understands the modern threats to faith and he thinks of the social order as a fluid entity in which some will excel and others not, but one which permits and encourages the success of the previously marginalized.

Basically, we have a great poet and intellectual who is fundamentally Christian and conservative making the best case that he can for a culture and social order which will avoid some of the grand mistakes of the past but not succumb to the significant threats that were so apparent just after the war.

Many of these threats continue today and there are moments in which Eliot’s argument becomes quite explicit and quite prescient. For example: “the ideal of an educational system which would automatically sort out everyone according to his native capacities is unattainable in practice; and if we made it our chief aim, would disorganise society and debase education. It would disorganise society, by substituting for classes, élites of brains, or perhaps only of sharp wits. Any educational system aiming at a complete adjustment between education and society will tend both to restrict education to what will lead to success in the world, and to restrict success in the world to those persons who have been good pupils of the system. The prospect of a society ruled and directed only by those who have passed certain examinations or satisfied tests devised by psychologists is not reassuring . . . “ (p. 101).

Bottom line: this is a trenchant discussion by a great poet and significant thinker, but a discussion that is a bit elusive in its modesty and in its awareness of the weight of contrary opinion represented by national socialism, communism, secularism and the general weariness with class and unearned hierarchy.

2 of 3 people found the following review helpful.
Shedding light on an abstruse subject matter
By John M. Balouziyeh
Eliot begins by conceding that the subject of his study “involves the risk of error at every moment” and is “so difficult that I am not sure I grasp it myself except in flashes, or that I comprehend all its implications.” He defines culture as “not merely the sum of several activities, but a way of life” of people living together in one place. It is “made visible in their arts, in their social system, in their habits and customs, in their religion.” He warns the reader about the danger of committing two errors: “that of regarding religion and culture as separate things between which there is a relation, and that of identifying [equating] religion and culture.” Culture and religion are separate and distinct, but they are intricately interwoven.
Eliot breaks culture down into three classes: the individual, the group and whole society. The culture of the individual is “dependent upon the culture of a group or class and that the culture of the group or class is dependent upon the culture of the whole society to which that group or class belongs.” He begins his study with culture at the whole society level, setting out to avoid
The material organization of a nation is inextricably linked with its spiritual life. In the context of Europe, if the spiritual organization dies, “then what you will organize will not be Europe, but merely a mass of human beings speaking several different languages.” “In the most primitive societies no clear distinction is visible between religious and non-religious activities; and that as we proceed to examine the more developed societies, we perceive a greater distinction and finally contrast and opposition, between these activities.”
The culture of the West has been formed through common conceptions that have been handed down from the ancient civilizations of Greece, Rome and Israel. These legacies have given way to common conceptions of private and public morality, a conception of Roman law and common standards of art and literature. It is the duty of men of letters throughout Europe to pass on this culture, unadulterated by political motives, to future generations by producing “those excellent works which mark a superior civilization.”

2 of 3 people found the following review helpful.
Should Be Required Reading
By J. Johnson
Indispensable little book on culture nothing has come close to since. Read this and you can begin to unravel ones real relationship to society in part and as a whole. No high school student should be able to graduate without having this on the curriculum.

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> PDF Download Luther's Works, Volume 22 (Sermons on Gospel of St John Chapters 1-4) (Luther's Works (Concordia)), by Martin H Bertram

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Luther's Works: The American Edition, published by Concordia and Fortress Press between 1955 and 1986, comprises fifty-five volumes. These are a selection representing only about a third of Luther's works in the Latin and German of the standard Weimar Edition, not including the German Bible.

The fifty-three sermons contained in this volume show that Luther was one of the most eloquent preachers since the days of Christ. The Reformer warns his hearers against perversions of Scripture. He speaks boldly and bluntly against sins rampant in his day and sins that will afflict mankind until the end of time. He wields the sword of the Spirit without fear and with telling effectiveness. His mastery of language is evident on every page. These sermons are models in every respect. When reading them in the translation my Martin H. Bertram, one can share the admiration and the edification that must have been felt by the men, women, and children who sat in the pews of the church in Wittenberg and listened intently while the mighty Luther addressed them.

• Sales Rank: #391910 in Books
• Published on: 1968-12-01
• Original language: English
• Number of items: 1
• Dimensions: 9.36" h x 1.85" w x 6.44" l, 2.18 pounds
• Binding: Hardcover
• 558 pages

Most helpful customer reviews

0 of 3 people found the following review helpful.
Used book in excellent condition
By Bo Harris
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** Download PDF Hermann Sasse: A Man for Our Times? : Essays from the Twentieth Annual Lutheran Life Lectures Concordia Lutheran Theological Seminary St. C

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These essays explore the life ministry and theology of the prominent European theologian and churchman.

• Sales Rank: #3312851 in Books
• Brand: Brand: Concordia Publishing House
• Published on: 1998-05-01
• Original language: English
• Number of items: 1
• Dimensions: 9.06" h x .65" w x 5.94" l, .97 pounds
• Binding: Paperback
• 271 pages

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• Used Book in Good Condition

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4 of 4 people found the following review helpful.
Sasse: A Man for our Times!
By rodboomboom
Sasse is important not only because he is a famous Lutheran theologian who was around during Nazi Germany. More important, as this book demonstrates, the residual influence this man had upon his students and their students with the adapt theology of this great Christian.
Sasse was such an astute man of the history of the Christian church, and at the same time, an excellent exegete. His thought process is profound and succinct. Almost at times like the apostle John, appearing simple in sentence structure and vocabulary, yet profound when you begin to unpack each word with its depth and richness of meaning.
In this volume are the speeches of the Sasse conference by his students, i.e. Nagel, Feuerhahan, Kleinig, Marquart, Hardt. Also, other contributors influenced by Sasse contribute to this volume.
The contents are rich and vibrant with the substance of theology. Besides commentary of Sasse's life and writings, articles include: his relationship with the Third Reich, on worship, the confessing apostolic and catholic church, his reaction and interaction with Barth and natural theology, the mystery of sacred scripture, and his relationship with Rome.
From Sasse's own words come this admonition to the church: "When does the church exert its greatest influence in the world? When it is the church, wholly church and nothing else! When it brings its message which is alien to this world, to a world which wants to know nothing of it."

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** Download PDF Who Moved the Stone?, by Frank Morison

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No spine creases. Clean, unmarked. Has slight shelf curl. 100% satisfaction guaranteed.

• Sales Rank: #3867319 in Books
• Brand: Brand: Faber n Faber
• Published on: 1973-01-01
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Binding: Paperback
• 192 pages

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• Used Book in Good Condition

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2 of 2 people found the following review helpful.
ONE OF THE MOST FAMOUS APOLOGETICS WORKS ABOUT THE RESURRECTION
By Steven H Propp
"Frank Morison" is actually a pen name of an English journalist and novelist named Albert Henry Ross (1881-1950); the only novel of his which appears to be available is SUNSET (1932), which is a "Philosophical science fiction novel of communication from an older planet which discusses the postulate that life on Earth was the result of an accident, a sort of cosmic miscarriage." His nonfiction work "War on Great Cities" (1937; Amazon doesn't have a listing) "extrapolates the influence and effect of aerial bombing of cities from the experience of London during the Great War."

Most people become acquainted with "Morison" through apologetics works such as Josh McDowell's Evidence Evidence That Demands a Verdict, Volume 1: Historical Evidences for the Christian Faith (Evidence That Demands a Verdict), which states (in the early editions, at least) that Morison was a LAWYER and a skeptic, who became convinced of the evidence for the resurrection of Jesus by diligent study of the gospel accounts, and thus wrote "The Book That Refused to Be Written."

However, if you read the first chapter by "Frank Morison," you'll see that he nowhere claimed to be a lawyer. He simply says that "When, as a very young man, I first began seriously to study the life of Christ, I did so with a very definite feeling that, if I may so put it, His history rested upon very insecure foundations ... the fact that almost every word of the Gospels was just then the subject of high wrangling and dispute did very largely colour the thought of the time, and I suppose I could hardly escape its influence.... It seemed to me that purely documentary criticism might be mistaken, but that the laws of the Universe should go back on themselves in a quite arbitrary and inconsequential manner seemed very improbable.... For the person of Jesus Christ Himself, however, I had a deep and almost reverent regard. He seemed to me an almost legendary figure of purity and noble manhood. A coarse word regarding Him, or the taking of His name lightly, stung me to the quick. I am only too conscious of how far this attitude fell short of the full dogmatic position of Christianity. But it is an honest statement of how at least one young student felt in those early formative years... I need not describe here how, fully ten years later, the opportunity came to study the life of Christ as I had long wanted to study it, to investigate the origins of its literature, to sift some of the evidence at first hand, and to form my own judgment on the problem which it presents. I will only say that it effected a revolution in my thought."

His conclusions are also expressed with more nuances than one would suspect from reading only popular apologetics literature; e.g., "This brings us to a theory which is, perhaps, the only really logical alternative to the Gospel thesis. If it could be proved that that grave was not visited on Sunday morning, and that it lay undisturbed and perhaps unthought up for many months afterwards, then the rock upon which all the preceding hypotheses ultimately founder would be removed. For if the women did not announce its vacancy, the Priests would be under no compulsion to formulate a theory, and the city would have gone about its normal life, save for the inevitable excitement and discussion occasioned by so resounding an event as the Crucifixion."

The book remains (as the Preface says) "the inner story of a man who originally set out to write one kind of book and found himself compelled by the sheer force of circumstance to write quite another." And "Morison's" arguments retain their vigor. But Christians should read "Morison's" actual book, rather than relying on inaccurate second-hand recountings.

0 of 0 people found the following review helpful.
One Star
By Kathryn Colville
The book was a gift. I did not read it.

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• Sales Rank: #8401353 in Books
• Published on: 2006
• Binding: Sheet music
• 4 pages

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Katherine Luther or "Kitty" was the woman behind the great man Martin Luther. Kitty mellowed Luther's harsher side, kept the household from bankruptcy despite her husband's generosity and enhanced his life with the joys and fullness of family living.

• Sales Rank: #422420 in Books
• Published on: 1959-01-01
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .42" w x 5.51" l, .54 pounds
• Binding: Paperback
• 182 pages

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0 of 0 people found the following review helpful.
A book from the past
By Kathy Hassig
My Mother had this book and I read it many times in the 60's when I was in Jr hi and Sr hi school. I was very happy to see it on Amazon for my Kindle.

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I LOVE this book!
By S. Rice
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3 of 3 people found the following review helpful.
This is a very heartwarming story about the wife of ...
By Karen Ruhlig
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This volume contains Harold Pinter's first six plays, including The Birthday Party. The Birthday Party Stanley Webber is visited in his boarding house by two strangers, Goldberg and McCann. An innocent-seeming birthday party for Stanley turns into a nightmare. 'Mr Pinter's terrifying blend of pathos and hatred fuses unforgettably into the stuff of art.' Sunday Times The Room and The Dumb Waiter In these two early one-act plays, Harold Pinter reveals himself as already in full control of his unique ability to make dramatic poetry of the banalities of everyday speech and the precision with which it defines character. 'Harold Pinter is the most original writer to have emerged from the "new wave" of dramatists who gave fresh life to the British theatre in the fifties and early sixties.' The Times The Hothouse The Hothouse was first produced in 1980, though Harold Pinter wrote the play in 1958, just before commencing work on The Caretaker. In this compelling study of bureaucratic power, we can see the full emergence of a great and original dramatic talent. 'The Hothouse is at once sinister and hilarious, suggesting an unholy alliance of Kafka and Feydeau.' Spectator

• Sales Rank: #1315868 in Books
• Brand: Brand: Faber And Faber
• Published on: 1996-09-10
• Original language: English
• Number of items: 1
• Dimensions: 7.80" h x .98" w x 4.96" l, 1.10 pounds
• Binding: Paperback
• 400 pages

Features

• Used Book in Good Condition

About the Author
Harold Pinter was born in London in 1930. He lived with Antonia Fraser from 1975 and they married in 1980. In 1995 he won the David Cohen British Literature Prize, awarded for a lifetime's achievement in literature. In 1996 he was given the Laurence Olivier Award for a lifetime's achievement in theatre. In 2002 he was made a Companion of Honour for services to literature. In 2005 he was awarded the Nobel Prize for Literature and, in the same year, the Wilfred Owen Award for Poetry and the Franz Kafka Award (Prague). In 2006 he was awarded the Europe Theatre Prize and, in 2007, the highest French honour, the Legion d'honneur. He died in December 2008.

Most helpful customer reviews

0 of 1 people found the following review helpful.
"A Slight Ache" Not Pinter's Best Effort
By John F. Rooney
In "A Slight Ache" (1958) Harold Pinter was still trying to get his sea legs, experimenting, trying things out, probing. In this effort he has only two speaking characters, Edward and Flora, and one mute character, The Matchseller. At breakfast the couple are having an Absurdist, inane conversation about prosaic matters such as the garden. It's often funny stuff. It turns out that a Matchseller has been standing for months outside in all kinds of nasty weather in the lane behind their house where there is no traffic. Edward has grown quite frightened of this person, and, of course, wants him gone.
Flora, somehow attracted to the stranger, invites him in. He's dirty, smelly, and his matches are a sodden mess, but somehow she's sexually attracted by him. Edward prattles on to the man at great length and manages to convey little except the futility and meaninglessness of his (Edward's) own existence. The more he talks, the more vapid, superficial, and inconsequential his life seems. To Pinter identity, individuality is a very fragile thing.
Does the Matchseller represent death, rebirth, fate, change, or basically nothingness. Pinter can be annoying, prickly, and also dull and boring. You may see echoes of Ionesco ("The Killer") and Beckett in this one.
Prior to this Pinter had written "The Room," "The Birthday Party" and "The Dumbwaiter." This play along with others has that underlying sense of menace, an impending disaster, but it is less interesting and even more claustrophobic than the others. Keep your eye out for the Absurdist swap, sometimes a weird switcheroo. If this were the only play on a theater bill, I would advise customers not to pay too much for their tickets and to expect periods of the boring doldrums. I know and appreciate my Pinter, but this one is not one of his better outings.
One of Pinter's goals in these early plays was to depersonalize his characters, suck the humanity out of them, make them automatons. They had certain traits, but they were portrayed as types, templates rather than individuals, real people. They acted robotically, lacked spirituality, were puppets, and merely existed.
As theatergoers you either accepted this often comic depersonalization, or you rejected it. Of course a movement like the Theater of the Absurd was bound to gradually lose its appeal because it drained humanity and individuality from the characters. The audience went on to other movements or back to naturalism and realism.
Look elsewhere on Amazon for my reviews of other titles in this collection.

0 of 0 people found the following review helpful.
Terrific, funny series
By A. J. Sutter
There have been more than 110 Nobel laureates in Literature, but for the most part humor isn’t their distinguishing feature. Some do have occasional touches of humor in their writing -- Doris Lessing, Orhan Pamuk, Gabriel García Márquez and, in a leaden way, possibly Saul Bellow. But fewer than a handful have really made humor essential to their work. The most obvious is Dario Fo (1997), who proudly calls himself a clown; but little of his work has been translated into English, and that not always so well. Most poems by Wislawa Szymborska (1996) feature her wonderfully ironic sense of humor, but they're more likely to provoke a smile than laughter out loud. [Sorry her name is misspelt: Amazon's character set is limited.] And Samuel Beckett’s (1969) humor is inseparable from tragedy and peculiarly limited language.

So it probably falls to Harold Pinter — a generation younger than Beckett, influenced by him, and ultimately his personal friend — to be the funniest Nobel laureate (2005), at least for readers of English. Pinter’s plays are often serious, or at least disturbing. His humor is often quite dark or sarcastic. But his plays are built with it -- it's fundamental to their structure. It’s more aggressive than Beckett’s, more overtly satirical, and sometimes purely playful or farcical, Pythonesque before Monty Python. (I defy anyone to read aloud “Trouble in the Works” in Vol. 2 of this series without cracking up the first few times through.) And while seeing a Pinter play performed is better than reading one, there is plenty on the printed page that’s entertaining and thought-provoking.

For each of the past four years I’ve read one volume from this Faber series of Pinter plays over the New Year’s holiday. This series, especially with the 1997 edition of Vol. 3 and the 2012 edition of Vol. 4, is more complete than the so-called “complete works” from Grove Press. Each volume is prefaced by the text of a short speech Pinter gave that touches on some of the works in the book, but aside from some notes about the first two or three productions of each play there aren’t any endnotes or other critical or explanatory apparatus. I can’t say I connected with all of it; in particular “The Dwarfs” (1961, Vol. 2), a condensation for radio of a novel Pinter wrote in the 1950s, and with a key character eliminated, was obstinately opaque. But cycling through all his work this way helped me to start each year with laughter. It's a brief tradition that will be hard to replace.

0 of 0 people found the following review helpful.
A wonderful night in Trafalgar!
By Carlo Erminero
a real masterpiece, The Hothouse, I mean. It was written more than 50 years ago, and it didn't loose any reference with our life. A real metaphor of power and the power of beaurocracy. It remind me to Orwell 1984. May I remind here a nice application of Kindle? During a week end in London (May 2013)with my wife, we saw that Hothouse was on stage at Trafalgar Studio Theater. We love Pinter, but we didn't know this play. I ordered it on my Kindle; I got it in one minute; I had the time to read it in the next hour; than we were to the theater enjoing the performance without loosing any subtlety of the text. Great!

Carlo Erminero

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? Download PDF Hapgood: A Play, by Tom Stoppard

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With his characteristically brilliant wordplay and extraordinary scope, Tom Stoppard has in Hapgood devised a play that "spins an end-of-the-cold-war tale of intrigue and betrayal, interspersed with explanations of the quixotic behavior of the electron and the puzzling properties of light" (David Richards, The New York Times). It falls to Hapgood, an extraordinary British intelligence officer, to try to unravel the mystery of who is passing along top-secret scientific discoveries to the Soviets, but as she does so, the web of personal and professional betrayals―doubles and triples and possibly quadruples―continues to multiply.

• Sales Rank: #1113617 in Books
• Published on: 2008-09-30
• Released on: 2008-09-30
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .23" w x 5.50" l, .23 pounds
• Binding: Paperback
• 96 pages

From the Back Cover
Does light come in waves or particles? Experiment will show either: the experimenter can choose. 'A double agent is like a trick of the light, ' Kerner the physicist tells Blair the spycatcher. 'You get what you interrogate for.' Dual natures, of light and of people, are the theme of Tom Stoppard's espionage thriller. Kerner's secret research is being leaked to Moscow. Is Ridley the double? Or is Kerner a triple? Hapgood is the person to find out, and maybe it will need two of her.

About the Author

Tom Stoppard is the author of more than twenty plays, including, most recently, Rock 'n' Roll. He lives in London.

Most helpful customer reviews

13 of 14 people found the following review helpful.
Beware for the Intellectually Simple
By A Customer
This is probably my favorite play - but a word a warning. It is one of the most complex plays on the market, so watch out. It may require one having to draw out scenes and re-read parts, and even then, it can be confusing at parts. It's about double agents and english/russian spies combined with extremely complex science and physics, so if you like that kind of thing, this book is right up your alley. I also recommend some of Tom Stoppard's other plays: Dirty Linen, The Dog It Was That Died, Dogg's Hamlet, Cahoot's Macbeth, and Indian Ink. And of course, his classics: Arcadia and Rosencranz and Guildenstern are Dea

1 of 1 people found the following review helpful.
Hapgood's gotten a bad rap, it's really a great play!
By Frequent Contributor
After getting into Tom Stoppard, his evasive play Hapgood struck my interest, and I tracked it down on Amazon to see if it was any good (while a fan of Stoppard, I seem to either love his stuff or become bored to death with it, depending on the subject matter... Arcadia and The Real Thing are some of my other favorites...). First of all, it is good. There's quite a lot of interesting spy things going on, and like Stoppard's The Real Thing, the way scenes are framed can lead (purposefully) to a bit of confusion, which is a good thing in a story with so many double and triple crosses going on...

I should mention my concern regarding this play, in that apparently there is an original "lost" version of the text which was performed to poor reviews, rewritten, and is now only available in this new form (and performed that way, if people still put on productions...). I'm led to believe that the original has a lot more confusing bits about quantum physics, which is part of what piqued my interest in the first place. While this version seems to have lost most of the bits about physics and the nature of reality, there's still a lot of really great spy-speak and three-card-monty-esque briefcase drop-off scenes.

All in all, I highly recommend this play to fans of espionage (If you liked Mamet's Heist, you'll be right at home, here...).

Oh, and I don't know why, but I guess simply based on the title, or whatever, but I assumed Hapgood was a man, which is not the case. Weird how the brain works...

0 of 0 people found the following review helpful.
Work of Genius
By Edward Nagel
Hapgood is a very dense play, a work of genius, correlating
the British spy system with the mysteries of quantum
mechanics. Great story and gives science info., in the
group of his Arcadia and Fryan's Copenhagen. Terrific
and challenges the audience to THINK!

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• Sales Rank: #4529027 in Books
• Published on: 2005
• Format: Deluxe Edition
• Binding: Cards
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Most helpful customer reviews

1 of 1 people found the following review helpful.
ordered five decks... still waiting
By Charles
I ordered five decks of cards a week before my brother's bachelor party. The price on the itmes were good and inexpensive. I figured for sure with one week's notice the cards would arrive with plenty of time to spare. (A total of twenty dollars of shipping for five decks of cards!) I expected them actually in one to three days. Well here it is one week later and no cards for the bachelor party poker game. I figured I would give each of the guys a deck at the end of the night and we'd be able to use a new deck each time the blind went up. Now I am probably going to return them (once they arrive) since I typically don't have a need for nudy poker cards especially 5 decks...

I am sure the quality and etc. will be fine but with the additional shipping charge especially for multiple items on the same order for twenty dollars they could have been shipped overnight, priority, or maybe next business day.

0 of 0 people found the following review helpful.
OK cards
By W M
Standard casino card stock with large easy to read numbers/suits superimposed over photos of girls that i would describe as "Hometown hotties" that are too closely cropped for my liking. These sturdy cards should hold up for a while

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