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Stuart Sterling is the mayor of St. Louis, Missouri, with his eye on a bigger political prize. What is he willing to sacrifice for his ambition? His familys happiness? The code of honor handed down to him from his Scottish ancestors? This novel takes readers across boundaries of time and culture as it explores the people and events that have made Sterling who he is and affect the decisions he makes, decisions that lead to tragic consequences. This is a thought-provoking investigation of morality punctuated by forays into the worlds of sports, business, romance and especially politics, where the curtain is lifted to reveal the fascinating inner workings of the Electoral College.
WINNER OF THE BOOKER PRIZE WINNER OF 'BOOK OF THE YEAR' AND 'DEBUT OF THE YEAR' AT THE BRITISH BOOK AWARDS THE MILLION-COPY BESTSELLER 'An amazingly intimate, compassionate, gripping portrait of addiction, courage and love.' – The judges of the Booker Prize 'Douglas Stuart has written a first novel of rare and lasting beauty.' – The Observer 'Shuggie Bain means so much to me. It is such a powerfully written story . . . I love a heartbreak book but there is so much love within this one, particularly between Shuggie and his mother Agnes.' – Dua Lipa It is 1981. Glasgow is dying and good families must grift to survive. Agnes Bain has always expected more from life, dreaming of greater things. But Agnes is abandoned by her philandering husband, and as she descends deeper into drink, her children try their best to save her, yet one by one they must abandon her to save themselves. It is her son Shuggie who holds out hope the longest. Shuggie is different, he is clearly no’ right. But Shuggie believes that if he tries his hardest, he can be normal like the other boys and help his mother escape this hopeless place. Shuggie Bain lays bare the ruthlessness of poverty, the limits of love, and the hollowness of pride. For readers of A Little Life and Angela's Ashes, it is a heartbreaking novel by a brilliant writer with a powerful and important story to tell. 'A heartbreaking novel' – The Times 'Tender and unsentimental . . . The Billy Elliot-ish character of Shuggie . . . leaps off the page.' – Daily Mail
Leslie Stuart (1864-1928) was a British songwriter best remembered as the composer of the hit show, Florodora. He began writing popular songs as a teenager, first for blackface and vaudeville performers, and eventually for more "legitimate" shows and revues. Florodora (1899), written in collaboration with London's most fashionable librettist, Owen Hall, was a musical-comedy sensation. Its combination of the traditional slow love ballads and waltzes with more rhythmic and long-lined numbers made it a worldwide success. He continued to compose through the first decade of the 20th century, laying the groundwork for the coming innovations in British and American musical theater.
Travel & holiday.
Accompanying CD-ROM contains maps using the comercial drawing program Adobe Illustrator 9.0 for Wintel systems.
It's a story of two lovely squirrels, Stuart and Bert, an adventure journey along with their friends, with detective chapters one after another, stepping their feet into the real world of human jungle with no one there to help. Stuart and Bert need to fight their way back, they have to live and survive, for their loved ones, for themselves. Let's dive right in.
Two queens. One in power. One in prison. It's all in the execution. Schiller's political tragedy takes us behind the scenes of British history's famous rivalry between Elizabeth I and Mary Queen of Scots. Written in verse and based on historical sources, Schiller's play imagines the queens' lives - one in court, the other in prison - surrounded by staff and servants. Their imagined meeting, before Mary's execution, is passionate and enthralling. Robert Icke's lean version condenses the action, cutting the cast to twelve, whilst retaining the play's symmetrical structure and tense atmosphere. In an exciting twist, the first production had two actors learn the roles of both queens, and their roles were decided at each performance by the toss of a coin. Adding a further duality to the play, this also allowed the first word of the evening to anticipate its ending:'Heads'.