Other books that might interest you

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  The Beautiful Future is Coming

  Flora Wilson Brown

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  'Can you feel it? Something is hanging in the balance – ready to fall.'
  1856. New York. Eunice sits in what will become Central Park, and wonders if her research into CO2 is telling her something is going horribly wrong.
  
  2027. London. Claire falls in love as the heatwave breaks, and the streets begin to flood.
  
  2100. Svalbard. While an 86-day storm rages outside, Ana hears a baby crying in the seed vault.
  The world is ending, sure. But what happens in between?
  A fast-paced, funny and wildly inventive play, Flora Wilson Brown's The Beautiful Future is Coming looks at two hundred and fifty years of real and imagined history through the eyes of three couples. First performed at Jermyn Street Theatre, London, in 2024, this edition was published alongside a new production at Bristol Old Vic in 2025, directed by the theatre's Artistic Director Nancy Medina.

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  This is not a poem

  L. A. Cunningham

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  This is not a poem. 
  It's barely even a book. 
  It's one page making fun of poems that aren't poems. 
  And now it’s a 42-second audiobook too! Perfect for those long road trips and the busy individual with no time to sit down with a book.

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  In the Name of Red - Poems

  Z.R. Ghani

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  From lips and warmed cheeks to silk and falling leaves, the subjects of Z.R. Ghani's poems radiate with redness. Sometimes a cloak, often a shining symbol, Ghani's reds are sacred and dazzling: pomegranates ripening to jewels and perfectly-placed bindis shining like suns.
  But something darker lurks beneath the ruby depths. A city is held hostage by a heatwave, a flame is lit in a dark room, a ballerina twists inside a jewellery box.
  As though developing photographs, Ghani shines a deep light over her poems as a tool to slowly make the unseen visible, the unsaid audible. This is a debut book rich with desire, shame, grief, faith, love, and at the forefront of it all: the colour red.

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  Shakespeare’s Greatest Comedies...

  William Shakespeare

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  Laughter, happiness, romance, and just a bit of deception and intrigue – these are what make up Shakespeare’s most beloved comedies. Though Shakespeare is probably most well known for the dramatic tragedies that have defined the genre for centuries, his comedies are just as well beloved and performed in theaters across the globe.Shakespearean comedies are defined by their humorous writing, their satire, the often-tangled romances, disguises and deceptions, and a thoughtful “fool” who is often the bearer of the smartest lines in the plays. Most of the time, there is also at least one (or two, or three, or four) weddings that tie the entire plot together in a neat package just in the nick of time. These conventions are iconic in the genre, and are what gave Shakespeare’s comedies their place in the literary canon.This collection of the best of Shakespeare’s comedies includes:A Midsummer’s Night’s DreamThe Merchant of VeniceMuch Ado About NothingAs You Like ItTwelfth NightThe Tempest

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  Rebellious Women

  Beth Flintoff

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  'I'm going to smash the windows.'
  When contented housewife Edith wanders by accident into a suffragette meeting, she has no plans for revolution. But the women she meets there will change her life forever.
  Increasingly concerned by the harsh treatment the protesters receive, Edith finds herself drawn ever closer to the radical centre of the movement. Where does she draw the line in the fight for equality? How far will they have to go? 
  Beth Flintoff's play Rebellious Women is an impassioned, unsentimental and sharp-witted tribute to the suffragette cause. It was premiered, in an earlier version as The Rebellious Women of Wimbledon, by Attic Theatre Company in 2018.
  This version of the play offers rich opportunities for schools, youth theatres and drama societies who want to tell the story of a group of extraordinary women who changed the world.

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  Antony and Cleopatra

  William Shakespeare

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  Antony and Cleopatra (First Folio title: The Tragedie of Anthonie, and Cleopatra) is a tragedy by William Shakespeare. The play was first performed, by the King's Men, at either the Blackfriars Theatre or the Globe Theatre in around 1607; its first appearance in print was in the Folio of 1623.
  The plot is based on Thomas North's 1579 English translation of Plutarch's Lives (in Ancient Greek) and follows the relationship between Cleopatra and Mark Antony from the time of the Sicilian revolt to Cleopatra's suicide during the Final War of the Roman Republic. The major antagonist is Octavius Caesar, one of Antony's fellow triumvirs of the Second Triumvirate and the first emperor of the Roman Empire. The tragedy is mainly set in the Roman Republic and Ptolemaic Egypt and is characterized by swift shifts in geographical location and linguistic register as it alternates between sensual, imaginative Alexandria and a more pragmatic, austere Rome.
  Many consider Shakespeare's Cleopatra, whom Enobarbus describes as having "infinite variety", as one of the most complex and fully developed female characters in the playwright's body of work. She is frequently vain and histrionic enough to provoke an audience almost to scorn; at the same time, Shakespeare invests her and Antony with tragic grandeur. These contradictory features have led to famously divided critical responses. It is difficult to classify Antony and Cleopatra as belonging to a single genre. It can be described as a history play (though it does not completely adhere to historical accounts), as a tragedy (though not completely in Aristotelian terms), as a comedy, as a romance, and according to some critics, such as McCarter, a problem play. All that can be said with certainty is that it is a Roman play, and perhaps even a sequel to another of Shakespeare's tragedies, Julius Caesar.
  Among the most significant works William Shakespeare: Hamlet, Othello, King Lear, Macbeth, Orpheus, Romeo and Juliet, Julius Caesar, Troilus and Cressida, The Tempest, Venus and Adonis, Antony and Cleopatra, Measure for Measure, The Winter's Tale and many more.

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