Understandable perhaps from the point of view of the poet: readers on the other hand might wish to demur. The poems gathered here and chronologically ordered, thereby tracing the course of the war, are an extraordinary testimony to the almost unimaginable experiences of a combatant in that bitter conflict. Moving from the patriotic optimism of the first few poems (" ... fighting for our freedom, we are free") to the anguish and anger of the later work (where "hope, with furtive eyes and grappling fists / Flounders in mud ... "), there comes a point when the reality of trench-warfare and its aftershocks move beyond comprehension: Sassoon knows this, and it becomes a powerful element in his art. As a book, the images have a cumulative relentlessness that make it almost impossible to read more than a few poems in one sitting. Unlike the avant-garde experiments developing in Europe in the first decades of this century, Sassoon's verse is formally conservative--but this was perhaps necessary, for as one reads the poems, one feels that the form, the classically inflected tropes, the metre and rhyme, apart from ironising the rhetoric of glory and battle were necessary techniques for containing the emotion (and indeed, a tone of barely controlled irony may have been the only means by which these angry observations would have been considered publishable at the time). When Sassoon's line begins to fragment, as it does in several of the later poems, it is under the extreme pressure to express the inexpressible. Compassion and sympathy are omnipresent here, in their full etymological sense of suffering with or alongside others--something the higher echelons of command (those " ... old men who died / Slow, natural deaths--old men with ugly souls") were never able or willing to contemplate. But Sassoon intuited the future of warfare, could sense that this was not "the war to end all wars": the mock-religious invocation of the final poem prefigures the vicious euphemisms of more recent conflicts: "Grant us the power to prove, by poison gases, / The needlessness of shedding human blood." Sassoon's bile-black irony signals a deep-felt pessimism: it was with good reason. --Burhan Tufail

    Somerset Maugham's ode to the powerful forces behind creative genius. Charles Strickland is a staid banker, a man of wealth and privilege. He is also a man possessed of an unquenchable desire to create art. As Strickland pursues his artistic vision, he leaves London for Paris and Tahiti, and in his quest makes sacrifices that leave the lives of those closest to him in tatters. Through Maugham's sympathetic eye, Strickland's tortured and cruel soul becomes a symbol of the blessing and the curse of transcendent artistic genius, and the cost in humans' lives it sometimes demands.

    George traces his mysterious traveling companion to Belpher Castle, home of Lord Marshmoreton, where things become severely muddled. Maud’s aunt, Lady Caroline Byng, wants Maud to marry Reggie, her stepson. Maud, meanwhile, is known to be in love with an unknown American she met in Wales. So when George turns up speaking American, a nasty case of mistaken identity breaks out. In fact, the scene is set for the perfect Wodehouse comedy of errors.

    My Man Jeeves is sure to please anyone with a taste for pithy buffoonery, moronic misunderstandings, gaffes, and aristocratic slapstick.Contents:"Leave It to Jeeves""Jeeves and the Unbidden Guest" "Jeeves and the Hard-boiled Egg" "Absent Treatment""Helping Freddie""Rallying Round Old George""Doing Clarence a Bit of Good""The Aunt and the Sluggard"Of the eight stories in the collection, half feature the popular characters Jeeves and Bertie Wooster, while the others concern Reggie Pepper, an early prototype for Bertie Wooster.Revised versions of all the Jeeves stories in this collection were later published in the 1925 short story collection Carry On, Jeeves. One of the Reggie Pepper stories in this collection was later rewritten as a Jeeves story, which was also included in Carry On, Jeeves.

    At first, intoxicated by their beauty and athletic energy, he finds it difficult to choose between them. But gradually he finds himself drawn to the beautiful Albertine, without guessing how much she is to mean to him in the future.

    Contents: Gerontion; Burbank with a Baedeker: Bleistein with a Cigar; Sweeney Erect; A Cooking Egg; Le Directeur; Melange adultere de tout; Lune de Miel; The Hippopotamus; Dans le Restaurant; Whispers of Immortality; Mr. Eliot's Sunday Morning Service; Sweeney Among the Nightingales; The Love Song of J. Alfred Prufrock; Portrait of a Lady; Preludes; Rhapsody on a Windy Night; Morning at the Window; The Boston Evening Transcript; Aunt Helen; Cousin Nancy; Mr. Apollinax; Hysteria; Conversation Galante; La Figlia Che Pianga.

    The 94th ended the war in France with the highest number of air victories of any American squadron. Captain Rickenbacker later belonged to an association of pilots and Great War air veterans who, in the years immediately following the Second World War, invited many of the new "young" aces from the Pacific and European theaters for informal lectures. These men never lost their keen interest in aviation.

    In this second volume of Remembrance of Things Past, the narrator turns from the childhood reminiscences of Swann’s Way to memories of his adolescence. Having gradually become indifferent to Swann’s daughter Gilberte, the narrator visits the seaside resort of Balbec with his grandmother and meets a new object of attention—Albertine, “a girl with brilliant, laughing eyes and plump, matt cheeks.”

    

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    L. Mencken was unquestionably the most provocative and influential journalist and cultural critic in twentieth-century America. The six volumes of Prejudices, published between 1919 and 1927, were both a slashing attack on what Mencken saw as American provincialism and hypocrisy and a resounding defense of the writers and thinkers he thought of as harbingers of a new frankness and maturity. Laced with savage humor and delighting in verbal play, Mencken’s prose remains a one-of-a-kind roller-coaster ride through a staggering range of themes: literature and journalism, politics and religion, sex and marriage, food and drink.In this and a companion volume, The Library of America presents all six series of Prejudices in their original form. The first three series include some of his most famous writing, including “The Sahara of the Bozart,” an attack on Southern culture so unbridled as to earn him widespread criticism from politicians and the press; “The National Letters,” a lively and free-spoken survey of writing in America; “The Dry Millennium,” an analysis of the multiple absurdities of Prohibition; “Exeunt Omnes,” an unblinking and deromanticized contemplation of death; and “On Being an American,” a humorous celebration of the political and cultural panorama that he saw as “incomparably the greatest show on earth.” Here are his harsh summing-up of Theodore Roosevelt’s career (“he didn’t believe in democracy; he believed simply in government”) and his sympathetic portraits of literary friends like James Huneker and George Jean Nathan. Mencken’s account of the original reception of Prejudices, from his memoir My Life as Editor and Author, is included as an appendix.Edmund Wilson wrote: “Mencken’s mind . . . has all the courage in the world in a country where courage is rare.” That courage may sometimes have been coupled with an inflexible stubbornness that led him into positions hard to defend. But to succeeding generations of writers and readers, Mencken was the figure who had risked charges of heresy and sedition and almost single-handedly brought America into a new cultural era. To read him is to be plunged into an era whose culture wars were easily as ferocious as those of our own day, in the company of a critic of vast curiosity and vivacious frankness.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    He is best remembered today for his ghost stories in the classic Victorian Yuletide vein.

    He has never worked and lives in a continual whirl of parties and good times. When this lifestyle disagrees with his digestion, he consults a Harley Street specialist—only to have the doctor sneer at him and refuse to shake his hand. Bliss angrily blurts that he could set out that same day in an old suit with five pounds in the pocket and find an honest living for a year. If he does not succeed, he says, he will pay to build a new hospital. With that, the pampered young man begins an adventure that never takes him beyond London, but opens his eyes to the struggles of everyday people to survive.

    It brings a sort of sickening feeling to me even now, though I consider myself hardened to such sights.” Modest and unassuming, Feilding was a front line soldier in World War One, and a leader of men, preferring to volunteer for a dangerous duty rather than an order a subordinate to do so in his place. With a narrative broken only by the months he spent recuperating from wounds, Feilding was blessed with an extraordinary luck: his survival was a mystery even to his comrades. Vivid yet unexaggerated in its depiction of life at the front, Feilding’s letters are driven by his thoughts, emotions and experiences of the war, and of home. “…it was nice to think that at last, after all the years of war, these men were getting some personal and first-hand recognition from their fellow-countrymen.” Written with the events still fresh in his mind, and often while still on the battlefield or in the trenches, Feilding’s letters to his wife form one of the most compelling accounts of the Western Front during the First World War. Rowland Feilding (1871-1945) continued his family’s close association with the Coldstream Guards, transferring to the regiment from the City of London Yeomanry in 1915. In 1916 he took command of the 6th Connaught Rangers, and following its disbandment in 1918 the 1/15th Londons (Civil Service Rifles). They were demobilised the following year. Albion Press is an imprint of Endeavour Press, the UK's leading independent digital publisher. For more information on our titles please sign up to our newsletter at www.endeavourpress.com. Each week you will receive updates on free and discounted ebooks. Follow us on Twitter: @EndeavourPress and on Facebook via http://on.fb.me/1HweQV7. We are always interested in hearing from our readers. Endeavour Press believes that the future is now.

    Jimeen can't seem to stay out of trouble - he just can't resist it, whether it's tormenting his sister, C�it, a night out 'on the Wren', trying to steal lobsters, or scouring the countryside for spies.A drowned cat, a drunken goose, the whole neighbourhood out searching all night - these are the results of Jimeen's pranks.Popular for years in the Irish language, this translation means that a whole new audience can join in the fun.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    COMPREHENSIVE STUDY OF LYNCHING Published by the NAACP in 1919 to promote awareness of lynching in the United States, this seminal study provides information on the lynchings of 3,224 African-Americans between 1889 and 1918.