Dr. Faustus is a great Elizabethan tragedy by Christopher Marlow originally published in 1600. The story is based on an earlier anonymous classic German legend involving worldly ambition, black magic and surrender to the devil. It remains one of the most famous plays of the English Renaissance. Dr. John Faustus, a brilliant, well-respected German doctor grows dissatisfied with the limits of human knowledge - logic, medicine, law, and religion, and decides that he has learned all that can be learned by conventional means. What is left for him, he thinks, but magic. His friends instruct him in the black arts, and he begins his new career as a magician by summoning up Mephastophilis, a devil. Despite Mephastophilis’s warnings about the horrors of hell, Faustus tells the devil to return to his master, Lucifer, with an offer of Faustus’s soul in exchange for twenty-four years of service from Mephastophilis. On the final night before the expiration of the twenty-four years, Faustus is overcome by fear and remorse. He begs for mercy, but it is too late. At midnight, a host of devils appears and carries his soul off to hell. Marlowe’s dramatic interpretation of the Faust legend is a theatrical masterpiece. With immense poetic skill, and psychological insight that greatly influenced the works of William Shakespeare and other dramatists, Dr. Faustus combines soaring poetry, psychological depth, and grand stage spectacle. Marlowe created powerful scenes that invest the work with tragic dignity, among them the doomed man’s calling upon Christ to save him and his ultimate rejection of salvation for the embrace of Helen of Troy.

The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust, that was first performed sometime between 1588 and Marlowe's death in 1593. Two different versions of the play were published in the Jacobean era, several years later.The powerful effect of early productions of the play is indicated by the legends that quickly accrued around them-that actual devils once appeared on the stage during a performance, "to the great amazement of both the actors and spectators", a sight that was said to have driven some spectators mad.

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Depicting with shocking openness the sexual and political violence of its central characters’ fates, Edward the Second broke new dramatic ground in English theatre. The play charts the tragic rise and fall of the medieval English monarch Edward the Second, his favourite Piers Gaveston, and their ambitious opponents Queen Isabella and Mortimer Jr., and is an important cultural, as well as dramatic, document of the early modern period. This modernized and fully annotated Broadview Edition is prefaced by a critical but student-oriented introduction and followed by ample appendix material, including extended selections from Marlowe’s historical sources, texts bearing on the play’s complex sexual and political dynamics, and excerpts from contemporary poet Michael Drayton’s epic rendition of Edward the Second’s reign.

What would you give to be your school's superstar? After reading Dr. Faustus, Joe considers the merits of selling his soul to the devil. Suddenly, he finds himself changing from a lousy basketball player and a C student to the star athlete he always dreamed he could be. Even though he isn't sure if he actually made a deal with the devil, he can't help but enjoy the benefits that come with his newfound abilities. But is achieving his dreams worth what he may have given up? In this coming of age sports novel, Joe learns the power of belief and that the only goals worth attaining are the ones that you earn -- on your own.

From the author of Bunny, which Margaret Atwood hails as “genius,” comes a “wild, and exhilarating” (Lauren Groff) novel about a theater professor who is convinced staging Shakespeare’s most maligned play will remedy all that ails her—but at what cost? Miranda Fitch’s life is a waking nightmare. The accident that ended her burgeoning acting career left her with excruciating chronic back pain, a failed marriage, and a deepening dependence on painkillers. And now, she’s on the verge of losing her job as a college theater director. Determined to put on Shakespeare’s All’s Well That Ends Well, the play that promised and cost her everything, she faces a mutinous cast hellbent on staging Macbeth instead. Miranda sees her chance at redemption slip through her fingers. That’s when she meets three strange benefactors who have an eerie knowledge of Miranda’s past and a tantalizing promise for her future: one where the show goes on, her rebellious students get what’s coming to them, and the invisible doubted pain that’s kept her from the spotlight is made known. With prose Margaret Atwood has described as “no punches pulled, no hilarities dodged…genius,” Mona Awad has concocted her most potent, subversive novel yet. All’s Well is a “fabulous novel” (Mary Karr) about a woman at her breaking point and a formidable, piercingly funny indictment of our collective refusal to witness and believe female pain.

Geoffrey Firmin, a former British consul, has come to Quauhnahuac, Mexico. His debilitating malaise is drinking, an activity that has overshadowed his life. On the most fateful day of the consul's life--the Day of the Dead, 1938--his wife, Yvonne, arrives in Quauhnahuac, inspired by a vision of life together away from Mexico and the circumstances that have driven their relationship to the brink of collapse. She is determined to rescue Firmin and their failing marriage, but her mission is further complicated by the presence of Hugh, the consul's half brother, and Jacques, a childhood friend. The events of this one significant day unfold against an unforgettable backdrop of a Mexico at once magical and diabolical. Under the Volcano remains one of literature's most powerful and lyrical statements on the human condition, and a brilliant portrayal of one man's constant struggle against the elemental forces that threaten to destroy him.

First performed by Shakespeare’s rivals in the 1590s, Christopher Marlowe’s The Jew of Malta was a trend-setting, innovative play whose black comedy and final tragic irony illuminate the darker regions of the Elizabethan cultural imagination. Although Jews were banished from England in 1291, the Jew in the form of Barabas, the play’s protagonist, returns on the stage to embody and to challenge the dramatic and cultural anti-Semitic stereotypes out of which he is constructed. The result is a theatrically sophisticated but deeply unsettling play whose rich cultural significance extends beyond the early modern period to the present day. The introduction and historical documents in this edition provide a rich context for the world of the play’s composition and production, including materials on Jewishness and anti-Semitism, the political struggles over Malta, and Christopher Marlowe’s personal and political reputation.