Bøger af David Roberts

Since its 1967 production of Vanbrugh's The Relapse, the Royal Shakespeare Company has been the world's leading producer of Restoration Comedies. This book is the first to document and critique the company's history of engagement with that repertoire. It reviews the spaces in which productions have been performed, design principles, casting, voicing, textual adaptation, musical direction, actor perspectives, and the problems of how to confront, adopt or depart from received notions of Restoration style. It goes on to posit that, for all the RSC's explorations of Restoration Comedy, the company has maintained the repertoire as a fringe interest played out in niche spaces, while recycling many of the assumptions it claims to challenge, and that what is needed is the writer-led intervention seen in RSC and National Theatre adaptations of French drama from the same period. Only then can Restoration Comedy begin to engage wider audiences in new sites of political, historical andcultural meaning.

By 1930, no place in the world was less well explored than Greenland. The native Inuit had occupied the relatively accessible west coast for centuries. The east coast, however, was another story. In August 1930, Henry George Watkins (nicknamed "Gino"), a twenty-three-year-old British explorer, led thirteen scientists and explorers on an ambitious expedition to the east coast of Greenland and into its vast and forbidding interior to set up a permanent meteorological base on the icecap, 8,200 feet above sea level. The Ice Cap Station was to be the anchor of a transpolar route of air travel from Europe to North America.The weather on the ice cap was appalling. Fierce storms. Temperatures plunging lower than -45° Celsius in the winter. Watkins's scheme called for rotating teams of two men each to monitor the station for two months at a time. No one had ever tried to winter over in that hostile landscape, let alone manage a weather station through twelve continuous months. Watkins was younger than anyone under his command. But he had several daring trips to the Arctic under his belt and no one doubted his judgement.The first crisis came in the fall when a snowstorm stranded a resupply mission halfway to the top for many weeks. When they arrived at the ice cap, there were not enough provisions and fuel for another two-man shift, so the station would have to be abandoned. Then team member August Courtauld made an astonishing offer. To enable the mission to go forward, he would monitor the station solo through the winter. When a team went up in March to relieve Courtauld, after weeks of brutal effort to make the 130-mile journey, they could find no trace of him or the station. By the end of March, Courtauld's situation was desperate. He was buried under an immovable load of frozen snow and was disastrously short on supplies. On 21 April, four months after Courtauld began his solitary vigil, Gino Watkins set out inland with two companions to find and rescue him.David Roberts, "veteran mountain climber and chronicler of adventures" (The Washington Post), draws on firsthand accounts and archival materials to tell the story of this daring expedition and of the epic survival ordeal that ensued.

How bond campaigns used coercive, modern marketing techniques to sell Canadians on the First World War. "Stick it, Canada! Buy more Victory Bonds!" The First World War demanded deep personal sacrifice in the field and at home, even when home was far from the front. It also made unrelenting financial demands on both the governments and populations of Canada and Newfoundland. Boosters and Barkers is a highly original examination of the drive to finance Canadian participation in the conflict: Ottawa's calls for direct public contributions in the form of war bonds; the intersections with imperial funding, taxation, and conventional revenue; and the substantial fiscal implications of participation in the conflict during and after the war. Canada's bond-selling campaigns used print, images, and music to sell both the war and public engagement. They received an astounding response, generating revenue that covered almost a third of the country's total war costs, which were estimated at $6.6 billion-- a dramatic charge on a dominion so far from the front. This is a story of inexorable need, shrewd propaganda, resistance, engagement, and long-term consequences.

Love experienced, love observed, love examined from different angles, love in the context of human life in all its variety. - This is not a normal book of love poetry. It goes beyond expressions of adoration, wonder, longing, and loss - the rhetoric of love poetry. It is a wide ranging exploration of "love".The author's approach is often thoughtful - even philosophical, at other times it may be surreal, bizarre, suggestive or facetious. This is "poetry of ideas".Poems include, Fifty kinds of love, Love is its own reward, Does love exist? How could you know? Don't vanish with the dawn, A heart in winter.100 pages

Amelie and Zach discover a mysterious painting in their great aunt's attic that leads them on an incredible adventure to the underworld. They encounter all sorts of strange creatures and must use their bravery and wits to navigate the treacherous terrain. With the help of their new friends and their own courage, Amelie and Zach are able to complete their quest and return to the safety of their great aunt's home.

The Military Adventures of Johnny Newcome; With an Account of his Campaign on the Peninsula and in Pall Mall by David Roberts has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

Set in Yorkshire in the 1980s, The Way the Day Breaks is a novel about family, love, memory and mental illness and is one of the most moving, honest accounts of the way mental illness vibrates through the life of a family.