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  The Boy at the Back of the Class

  Onjali Q. Raúf

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  'Nobody would get in this boat unless they had to. Me and my family, we had to.'
  When they learn that Ahmet came to the UK after fleeing his own war‑torn country, his classmates have 'The Greatest Idea in the World' – a magnificent plan to reunite Ahmet with his family. What follows is an unexpected and often hilarious adventure, all topped off with a terrific twist.
  Based on the best-selling and award-winning novel by Onjali Q. Raúf, this stage adaptation of The Boy at the Back of the Class is a joyful and heartfelt testament to the power of friendship, and a reminder that everyone needs a place to call home.
  Nick Ahad's adaptation was first performed in a co-production between the Rose Theatre, Kingston, and Children's Theatre Partnership in 2024, directed by Monique Touko, and was revived on a tour of the UK in 2026.

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  Timon of Athens

  William Shakespeare

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  The Life of Timon of Athens is a play by William Shakespeare about the fortunes of an Athenian named Timon (and probably influenced by the philosopher of the same name, as well), generally regarded as one of his most obscure and difficult works. Originally grouped with the tragedies, it is generally considered such, but some scholars group it with the problem plays. The play has caused considerable debate among scholars. It is oddly constructed, with several lacunae (gaps) and for this reason is often described as unfinished, multi-authored, and/or experimental. No precise date of composition can be given and, while most place it as close but prior to the late romances, theories posited have ranged broadly from Shakespeare's first work to his last. It is usually grouped with the tragedies (as in the First Folio), though some scholars have placed it with the problem comedies despite the death of its title character. Source material includes Plutarch's "Life of Alcibiades" and Lucian's dialogue, Timon the Misanthrope. The play had not been published prior to its inclusion in the First Folio (1623). (Summary by Wikipedia)Cast:Apemantus: Martin GeesonAlcibiades: Marty KrisCaphis; Soldier: David NicolCupid; Timandra; Third Senator; Varro's Servant: Elizabeth KlettFirst Bandit; First Varro's Servant; Lucullus: Delmar H. DolbierFirst Lady; Phrynia: Sandra GFirst Lord; Others: Lars RolanderFirst Senator: Bruce PirieFirst Servant: Elaine WebbFlaminius: thebicyclethiefFlavius: Peter BishopFool; Titus; Ventidius: Amy GramourFourth Lord; Lucius Servant; Others: Max KörlingeHortensius; Jeweller: Timothy FergusonLucilius: TriciaGMerchant; Servilius: Sebastian StephensonMessenger; Page: ChyAnne DonnellPainter; Second Stranger; Others: Nigel BoydellPoet; Third Stranger; Others: Bob GonzalezSecond Bandit; Sempronius: Ric FSecond Lord; Others: David GoldfarbSecond Senator; Old Athenian; Third Servant; Isadore's Servant; Others: Algy PugSecond Servant; Second Varro's Servant: John FrickerThird Bandit; Philotus: Ron AltmanThird Lord; Others: DublinGothicTimon: Barty BegleyNarrator: KristingjAudio edited by: Algy Pug

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  Nocturne

  Rachel Lawson

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  Poetry of the night

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  Paradise Lost (version 2)

  John Milton

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  As Vergil had surpassed Homer by adapting the epic form to celebrate the origin of the author’s nation, Milton developed it yet further to recount the origin of the human race itself and, in particular, the origin of and the remedy for evil; this is what he refers to as “things unattempted yet in prose or rhyme.”After a statement of its purpose, the poem plunges, like its epic predecessors, into the midst of the action, shockingly bringing to the front the traditional visit to the underworld, for Satan’s malice is the mainspring of the negative action.  But at the center of the poem lies the triumph by the Son of God over the angelic rebels, which counteracts Satan’s evil design.  To preview this pattern, the fallen angels’ council in hell is counterbalanced by a council in heaven, in which the Son offers himself as a scapegoat for mankind long before the original sin has been committed.With this background, the narrator introduces us to Eden and our “Grand Parents.”  Satan is detected spying on them and is expelled from the garden, after which God sends an angel to tutor Adam and Eve in the history of the heavenly war that has led to the present situation.  At Adam's request, the heavenly guest then recounts the creation of the visible world, explaining also the proper nature of development, whereby all things proceed from lower to higher by refining that which nourishes them.Satan, however, returning in the form of a snake, offers Eve an evolutionary shortcut in the form of a magical food capable of endowing her with super powers.  He claims it has conferred on him both reason and speech.  Since Eve is suffering at the moment from a fancied slight to her moral strength, she allows herself to forget her recent lesson and yields to this temptation.  Adam, unable to imagine life without Eve (and failing to explore alternatives to sin), accepts the fruit from her and eats as well. Satan’s triumph is short-lived, for although hell and the world of mankind are now linked by a broad highway, he and his followers are humiliated in hell by being turned involuntarily into snakes every year.Whatever their reasons, both Adam and Eve have disobeyed their Maker’s sole command, and both are condemned to mortality and expulsion from the garden, but before they leave they are vouchsafed another history lesson, this time of the world to come: the progress of sin, the Savior’s coming, and the growth of the church.

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  The Rape of the Lock

  Alexander Pope

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  The Rape of the Lock is a mock-heroic narrative poem written by Alexander Pope, first published anonymously in Lintot's Miscellany in May 1712 in two cantos (334 lines), but then revised, expanded and reissued under Pope's name on March 2, 1714, in a much-expanded 5-canto version (794 lines). The final form was available in 1717 with the addition of Clarissa's speech on good humour. The poem satirizes a petty squabble by comparing it to the epic world of the gods. It was based on an incident recounted by Pope's friend, John Caryll. Arabella Fermor and her suitor, Lord Petre, were both from aristocratic recusant Catholic families at a period in England when under such laws as the Test Act, all denominations except Anglicanism suffered legal restrictions and penalties (for example Petre could not take up his place in the House of Lords as a Catholic). Petre, lusting after Arabella, had cut off a lock of her hair without permission, and the consequent argument had created a breach between the two families. Pope, also a Catholic, wrote the poem at the request of friends in an attempt to "comically merge the two." He utilized the character Belinda to represent Arabella and introduced an entire system of "sylphs," or guardian spirits of virgins, a parodied version of the gods and goddesses of conventional epic. (Summary by Wikipedia)

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  Sonnet 073

  William Shakespeare

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  To celebrate Shakespeare’s birthday, LibriVox volunteers bring you ten different recordings of Sonnet 73. This was the weekly poetry project for the week of April 23rd, 2006.(Summary by Annie Coleman)

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