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Zusatztext "It has it all: a spooky ghost story! a heartwarming redemption and a great plot with a satisfyingly ending." — The Times Informationen zum Autor Director Neil Bartlett's translations include plays by Molière, Racine, Marivaux, Labiche and von Kleist. Adaptations include A Christmas Carol, Oliver Twist, Great Expectations and Camille. Oberon Books also publishes Solo Voices and Queer Voices, two collections of his monologues, and his plays In Extremis and Or You Could Kiss Me, both of which were first staged at the National Theatre. Klappentext Ebenezer Scrooge is a mean old man with no friends or family to love him - he's just so miserable and bitter! One freezing cold Christmas Eve, Marley's Ghost pays Scrooge a visit and an eerie night-time journey begins. The Christmas spirits are here to show Scrooge the error if his nasty ways. By visiting his past, present and future, will Scrooge learn to love Christmas and the others around him? A new addition to the award-winning, enduring Puffin Classics line, Puffin Chalk is the next wave of classics in children’s literature. With colorful chalk designs that echo the whimsy of childhood, these collectible editions add beauty to the bookshelves of children and classics lovers alike. ABOUT THE ILLUSTRATOR MARY KATE MCDEVITT is a letterer and illustrator living and working in Brooklyn, New York. She graduated from the Tyler School of Art with a degree in graphic design and illustration and has worked as a designer, freelance illustrator, and artist. Her work has been featured in Design*Sponge, Apartment Therapy, Etsy, and Bust magazine, among many others. Preface I have endeavoured in this Ghostly book, to raise the Ghost of an Idea, which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their house pleasantly, and no one wish to lay it. Their faithful Friend and Servant, C. D. December 1843 1 Marley’s Ghost Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it: and Scrooge’s name was good upon ‘Change, for anything he chose to put his hand to. Old Marley was as dead as a doornail. Mind! I don’t mean to say that I know, of my own knowledge, what there is particularly dead about a doornail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country’s done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a doornail. Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners for I don’t know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnized it with an undoubted bargain. The mention of Marley’s funeral brings me back to the point I started from. There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate. If we were not perfectly convinced that Hamlet’s Father died before the play began, there would be nothing more remarkable in his taking a stroll at night, in an easterly wind, upon his own ramparts, than there would be in any other middle-aged gentleman rashly turning out after dark in a breezy spot – say Saint Paul’s Churchyard for instance – literally to astonish his son’s weak mind. Scrooge never painted out Old Marley’s name. Ther...
