OB STARE is a Spanish publisher specialized in conscious maternity, early childhood education and development that supports knowledge and freedom of choice. We publish inspirational books for a new way of looking, including empowerment, gender equality, self-love and sexual diversity.
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Founded in 1892, Stanford University Press publishes 130 books a year across the humanities, social sciences, law, and business. Our books inform scholarly debate, generate global and cross-cultural discussion, and bring timely, peer-reviewed scholarship to the wider reading public. Numerous recent accolades include the Hayek Book Award and an NAACP Image Award nomination, while our authors and their books frequently appear in impactful media outlets such as the New York Times and NPR as well as in leading academic journals. Readers can find SUP titles at physical and online retailers around the world. At the leading edge of both print and digital dissemination of innovative research, with more than 3,000 books currently in print, SUP is a publisher of ideas that matter, books that endure.
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Dick of Devonshire by Thomas Heywood dramatises England's disastrous 1625 Cadiz expedition through the story of a foot-soldier turned national hero. For the first time, The Revels Plays publishes a scholarly modern-spelling edition of this unduly overlooked play, together with an anthology of its source material. The play, written in 1626, exists in only one contemporary manuscript, now contained in MS Egerton 1994. There is no evidence that the work was printed or performed in its time, and until now, its authorship has remained uncertain. Ellis's critical introduction analyses new data that uncovers the play's authorship, playing company, and playhouse for the first time, as well as exploring the occasion of the play, its textual and theatrical histories, and its stagecraft. Commentary notes guiding the modern reader include explanatory glosses, literary references, and notes on historical context.
John Ford's tragedy, first printed in 1633, is the first major English play to take as its theme a subject still rarely handled: fulfilled incest between brother and sister. This Revels Plays edition is a scholarly, modern-spelling edition of one of the most studied and performed of all plays of the period. White's critical introduction explores the textual and theatrical histories of the play, exploring closely its relationship to the particular stage and audience for which it was written. This Revels edition allows the modern reader to become, in Ford's words, an 'actor that but reads'.
A boy and his father are separated by an unforgivable lie. They meet again as adults. The father, close to death, tells of the men who cheated him of all he owned and the town of Mission that spurned him. John plans revenge. The sting that follows is so well sprung that you will feel the greed of his father's enemies and smell the mud they crawl in. 90,000 words
We, four suburban forty-somethings, had all but ignored live music, proper live music, for twenty years - The Banshees, Buzzcocks and The Smiths happened so long ago that they might have been in a different life. Live music now was a mum from Doncaster pretending to be the blonde one from Abba, and we needed help. Thankfully, it came, as our children found indie-rock, and demanded to see it up close. A night at Wembley with The Killers kick-started a five year odyssey of seventy nights, a hundred bands, and all of this – Superheroes in spandex, Viking Metallers in a strip-club, cross-dressing sax players, foam-parties, typewriter solos, half-eaten birds, demented babysitters, homicidal ticket-touts, terrifying body-art, the world’s laziest roadie, and of course, some dad-dancing. We’ve met an 80’s legend playing drums in a punk covers band, and been stalked by a masked man in a gay night-club. We’ve been derailed by the Pope, and insulted by a singer who then bought us all a drink, and even, briefly, had rock stars’ arse in our hands. Well, in my hands. Fleeting it may have been, but he hasn’t called, or even sent a text. Never Mind the Botox is a journey of mild, middle-aged rebellion, as once or twice a month, we try not to stand out in a crowd thirty years younger - we usually fail. Sometimes the children keep us company, others we leave them at home, but there is always, along the way, some fun to be had. And so what if we can’t hear the next morning. Old-people need rock’n’roll too.
