CHILDREN · FICTION
Tim Wynne-Jones
The word camera comes from the Latin term camera obscura, which means "dark chamber."
— from Click
Most acclaimed
The uninvited
Are they really here? Non-human encounters . . . Shocking abductions . . . Bizarre medical experiments . . . At last--an exposé of the alien abduction phenomenon from a government expert. A New Yorker is pulled from her apartment building by a beam of light--an event witnessed by security guards and a world-famous statesman . . . Two tough Mississippi shipyard workers are snatched up by a UFO for an involuntary medical exam . . . a Brazilian law student is spirited away to impregnate an alien female . . . Alien abductions--are they hysteria, hoaxes, dreams . . . or the real thing? UFO expert Nick Pope, assigned by the British government's Ministry of Defense to find out, began his investigation as a skeptic. He ended up a believer. Now the real-life version of the X-Files agent Fox Mulder presents his shocking findings. Uncensored and unexpurgated, Agent Pope gives you the eye-opening facts: Who was abducted? What happened to them? And finally, Pope's own chilling speculation about why . . .
A thief in the house of memory
The death of an apparent stranger in the Steeple family's old home triggers troubling questions for sixteen-year-old Declan as he tries to make sense of his fragmented dreams, random memories, and unexplained coincidences, hoping to learn the truth about the mother who suddenly left when he was ten.
Dracula
1986
Our dramatization of this myth of ancient horror is not for children. We do not minimize the genuine horror and sexuality of the story. It is not camp; it is not played for laughs, though it does have important scenes of comic relief; we take the myth of the vampire seriously. It is not a marathon; we follow where Bram Stoker leads, carefully condensing and pruning his expansive novel into a tightly structured theatrical experience of normal length. We dissected the events and chronology of his story down to the minutest detail, and we found that his work is seamless; grant him only the premise that there can be such a being as a vampire, and all else follows with flawless probability and necessity. In the end, the audience should feel that they have been with our characters on a tremendous journey, a quest with life and death at stake, not just for their lives, but for their souls as well. The end of the play--the final victory over the vampire--is a transcendent victory over evil incarnate. This play is a play--not a dramatization with narration and dialogue. It is a fully realized play for the stage, conveying story through action and dialogue. We do go so far as to use Stoker's convention in which written messages convey important events and information, but we always present such messages in the mouths and by the actions of the characters who write and send them. Last but not least, we embrace the emotional richness of the 19th century language and characterization. In many cases, we draw our dialogue directly from Stoker.