It''s 1984 and High School is about to come to an end for Danny Curruthers.Everything in his life so far has been normal. Well, when I say normal, Imean dull and repetitive and lacking anything remotely close to excitement, but all that is about to change. When a new girl comes to town, Danny''s life isthrown upside-down, literally, and for the first time ever, he feels alive.However, a deeper, darker secret lurks in the shadows for Danny and his friends as he learns that sometimes happiness is ''Hard To Get To''. This is an American youth story.

This is the first volume to appear in the Cambridge edition of the works of John Webster, beginning with the plays The White Devil and The Duchess of Malfi. The following volume planned for publication will include the other plays as well as the poems and prose. While both The White Devil and The Duchess of Malfi are available in modernized versions, the Cambridge edition incorporates the more recent editorial scholarship including valuable information on Webster's biography, critical methods, and textual theory. In particular, the edition integrates theatrical aspects of the texts with their bibliographical and literary features in a way not previously attempted for a scholarly edition of a Jacobean dramatist. The edition also presents previously unpublished material including a fragment of an otherwise lost play and a hitherto unknown poem and provides a brief biography of Webster, a history of the Webster canon, and reception history for each play.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Over the last two decades there has been a resurgence of theatrical interest in Shakespeare's Pericles, which has been rescued from comparative neglect and is now frequently performed. The editors reject the current orthodoxies, that the text is seriously corrupt and that the play is of divided authorship. They show how the 1609 quarto has features in common with the first quarto of King Lear, now widely regarded as being based on Shakespeare's manuscript. Likewise they regard the arguments concerning divided authorship as unproven and misleading. Instead they show the play to be a unified aesthetic experience.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Over the last two decades there has been a resurgence of theatrical interest in Shakespeare''s Pericles, which has been rescued from comparative neglect and is now frequently performed. The editors reject the current orthodoxies, that the text is seriously corrupt and that the play is of divided authorship. They show how the 1609 quarto has features in common with the first quarto of King Lear, now widely regarded as being based on Shakespeare''s manuscript. Likewise they regard the arguments concerning divided authorship as unproven and misleading. Instead they show the play to be a unified aesthetic experience.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Over the last two decades there has been a resurgence of theatrical interest in Shakespeare''s Pericles, which has been rescued from comparative neglect and is now frequently performed. The editors reject the current orthodoxies, that the text is seriously corrupt and that the play is of divided authorship. They show how the 1609 quarto has features in common with the first quarto of King Lear, now widely regarded as being based on Shakespeare''s manuscript. Likewise they regard the arguments concerning divided authorship as unproven and misleading. Instead they show the play to be a unified aesthetic experience.

It''s 1984 and High School is about to come to an end for Danny Curruthers.Everything in his life so far has been normal. Well, when I say normal, Imean dull and repetitive and lacking anything remotely close to excitement, but all that is about to change. When a new girl comes to town, Danny''s life isthrown upside-down, literally, and for the first time ever, he feels alive.However, a deeper, darker secret lurks in the shadows for Danny and his friends as he learns that sometimes happiness is ''Hard To Get To''. This is an American youth story.

This is the first volume to appear in the Cambridge edition of the works of John Webster, beginning with the plays The White Devil and The Duchess of Malfi. The following volume planned for publication will include the other plays as well as the poems and prose. While both The White Devil and The Duchess of Malfi are available in modernized versions, the Cambridge edition incorporates the more recent editorial scholarship including valuable information on Webster's biography, critical methods, and textual theory. In particular, the edition integrates theatrical aspects of the texts with their bibliographical and literary features in a way not previously attempted for a scholarly edition of a Jacobean dramatist. The edition also presents previously unpublished material including a fragment of an otherwise lost play and a hitherto unknown poem and provides a brief biography of Webster, a history of the Webster canon, and reception history for each play.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Over the last two decades there has been a resurgence of theatrical interest in Shakespeare's Pericles, which has been rescued from comparative neglect and is now frequently performed. The editors reject the current orthodoxies, that the text is seriously corrupt and that the play is of divided authorship. They show how the 1609 quarto has features in common with the first quarto of King Lear, now widely regarded as being based on Shakespeare's manuscript. Likewise they regard the arguments concerning divided authorship as unproven and misleading. Instead they show the play to be a unified aesthetic experience.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Over the last two decades there has been a resurgence of theatrical interest in Shakespeare''s Pericles, which has been rescued from comparative neglect and is now frequently performed. The editors reject the current orthodoxies, that the text is seriously corrupt and that the play is of divided authorship. They show how the 1609 quarto has features in common with the first quarto of King Lear, now widely regarded as being based on Shakespeare''s manuscript. Likewise they regard the arguments concerning divided authorship as unproven and misleading. Instead they show the play to be a unified aesthetic experience.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Over the last two decades there has been a resurgence of theatrical interest in Shakespeare''s Pericles, which has been rescued from comparative neglect and is now frequently performed. The editors reject the current orthodoxies, that the text is seriously corrupt and that the play is of divided authorship. They show how the 1609 quarto has features in common with the first quarto of King Lear, now widely regarded as being based on Shakespeare''s manuscript. Likewise they regard the arguments concerning divided authorship as unproven and misleading. Instead they show the play to be a unified aesthetic experience.