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When eighteen-year-old Dominic meets his new neighbour, the sexy, green-haired, tattooed punk Billy Crow, it's lust at first sight. And judging from their smouldering first encounter, Billy seems to feel the same way. But when Billy mentions a previous lover, Dominic demands to know all about him. And so a story starts to be told. A strange, fantastic story that begins to obsess Dominic more and more, until he finds himself wondering where that story ends . . . and his story begins. Set in London's East End in 1982, Philip Ridley's novel is a masterwork of LGBTQ fiction with a glittering, labyrinthine narrative and a firework display of images - a house full of crocodiles, Elvis Presley in a gold Cadillac, a cinema bathed in green neon - not to mention sex scenes of such dizzying eroticism that they take the breath away. In the years since its first publication in 1988, Crocodilia has become a cult classic, and for this new edition the author has expanded and developed the novel further, presenting it now - for the first time - as it was always intended. Already known as a visionary film director and one of the most original playwrights of his generation, with this new release Ridley confirms his place as one of our most innovative, distinctive, and dazzling novelists. 'Startling . . . a beautifully conceived flight of the imagination.' - Time Out 'Philip Ridley's stories compel attention.' - The Times (London) 'Ridley is a visionary.' - Rolling Stone

British theatre of the 1990s witnessed an explosion of new talent and presented a new sensibility that sent shockwaves through audiences and critics. What produced this change, the context from which the work emerged, the main playwrights and plays, and the influence they had on later work are freshly evaluated in this important new study in Methuen Drama's Decades of Modern British Playwriting series. The 1990s volume provides a detailed study by four scholars of the work of four of the major playwrights who emerged and had a significant impact on British theatre: Sarah Kane (by Catherine Rees), Anthony Neilson (Patricia Reid), Mark Ravenhill (Graham Saunders) and Philip Ridley (Aleks Sierz). Essential for students of Theatre Studies, the series of six decadal volumes provides a critical survey and study of the theatre produced from the 1950s to 2009. Each volume features a critical analysis of the work of four key playwrights besides other theatre work, together with an extensive commentary on the period. Readers will understand the works in their contexts and be presented with fresh research material and a reassessment from the perspective of the twenty-first century. This is an authoritative and stimulating reassessment of British playwriting in the 1990s.

"'For the upper middle class, the thirties of this century were a period of strains and divisions, a period, between the economic crisis and the second war, when Edwardian appearances were precariously kept up.' In his memoir of Esmond Romilly and Jasper Ridley, both of whom were killed in the war, Philip Toynbee presents his two very different friends against this background of a social system on the brink of disintegration. The two subjects of this book never met each other, and their lives and characters were utterly dissimilar. Yet they shared a common background on which each, Esmond by his actions, Jasper by his doubting mind, made his own kind of destructive comment. Allowing his memories to develop their own pattern, Philip Toynbee turns from one friend to the other, holding up this or that aspect of their lives where they touched his--golden memories of love and friendship in a Wiltshire country house; of more sombre political gatherings in Oxford and Bloomsbury; memories of Jasper and his circle at Oxford, of Esmond and Spain and the Communist Party; of Jasper among the 'Liberal Girls', of Esmond's house at Rotherhithe. Round the figures of these young men, between their contrasting lives, crystallizes a picture of what it was like to grow up just before the last war--a picture that is the more vivid and touching being enclosed, unmodified by future events, in the past. For Jasper and Esmond were caught and kept by their early death in a vanished world; opposite poles, as he says, in 'that magnetic field which was the area of my own life'."--Jacket flap.

La 4e de couv. indique : "Un centre communautaire à l'abandon dans la banlieue. Sur la scène pourtant quelqu'un a construit un décor de conte de fée. C'est Gidéon. Il se croit seul mais Kirsty entre. Elle est en tenue de fête. Dès qu'elle voit Gideon, elle se montre agressive. Tous les deux ont quinze ans et se reconnaissent sans s'être jamais rencontrés. Gideon a connu la misère, n'a pas de père et une mère complice qui a bercé sa vie de contes. Kirsty avait une mère adorée mais elle est morte et son père s'apprête à en épouser une autre. Elle ne le supporte pas. Pourtant Gideon l'aidera à traverser sa douleur, et en l'aidant, c'est la sienne qu'il métamorphose."

Captures the strange world of twenty-first-century Earth, a devastated planet in which sophisticated androids, banned from the planet, fight back against their potential destroyers, while bounty hunter Rick Deckard sets out to track down the replicants. Reissue. (Tie-in to the Fall 2007 release of the deluxe twenty-fifth anniversary DVD of the Warner Bros. film, directed by Ridley Scott, starring Harrison Ford, Rutger Hauer, Sean Young, and others) (Science Fiction)

Crash! Dopo l'ennesimo battibecco tra mamma e papà, casa Tuono è ormai ridotta a un cumulo di macerie e i fratelli Filly e Fergal non sanno più cosa inventarsi per riunire i cocci. Un giorno però tutto cambia, e i signori Tuono tornano giovani e innamoratissimi! Ma non è tutto oro quel che luccica... Basteranno una vecchietta con un nido in testa, un'isola magica con cuori disegnati sulla sabbia e uno strano cucchiaio a riportare la pace in famiglia?

Capucine et Timothée sont témoins des disputes incessantes de leurs parents et ils espèrent y mettre un terme. [SDM].