Her son and daughter fall in love with the children of the local squire, while Caroline herself becomes interested in a handsome widower who has just moved to town. Unforeseen difficulties challenge the happiness of all involved until Caroline manages to untangle everything to the satisfaction of all.

    Is the child really his? And does he want him?

    They met as children... Unable to bear the prospect of life at sea, young Anthony O'Connell deserts his ship at Torquay and escapes into the Devonshire countryside under a new name. Zachary Moon. In this lush, enchanting land where anguish and strife did not exist, he met Stella Sprigg, the adopted daughter of local farmers. The pair instantly know they are destined to be toge ther forever.As they grew up, the world rushed into their magic kingdom. War raged--a war to challenge the bravest of men. Zachary answered that challenge, knowing it would sweep him far away, into the depths of danger. Yet he vowed to return to Stella, no matter what, no matter how.Intertwined with the local legend of St. Michael's Chapel at Torquay, Zachary and Stella's story takes them from the secluded Devonshire valley to the perilous Mediterranean seas and finally to the poverty and squalor of eighteenth-century London.

    One, the Lockwoods, wealthy and powerful, in a position to patronise and help the second family, the poor Hunters, who have been left fatherless with a weak, ineffectual mother. Though the thudding heart of the story draws the reader inexorably along, hoping for the meek to conquer the strong, it is a surprising book in many ways, not least for its subversive portrayal of family – the children are often the adults, the parents the untrustworthy, unwise ones, and Whipple makes it clear that what we call today the nuclear family is not the answer to happiness. But what may be most satisfying about the book is how the climax is reached as a result of character.This is twentieth-century British fiction at its very best.

    The story tells why some were spared and some were not... The germ of the idea for The Feast - Margaret Kennedy's ninth novel and perhaps her most ingenious, first published in 1950 - came to the author in 1937 when she and a social gathering of literary friends were discussing the Medieval Masque of the Seven Deadly Sins. The talk turned excitedly to the notion that a collection of stories might be fashioned from seven different authors, each re-imagining one of the Sins through the medium of a modern-day character. That notion fell away, but something more considerable stayed in Margaret Kennedy's mind over the next ten years, and so she conceived of a story that would gather the Sins all under the roof of a Cornish seaside hotel managed by the unhappy wife of Sloth.Among The Feast's entertaining cast of characters are a clergyman, a gaggle of adolescents and children, a quarter of lovers, and a clutch of frustrated husbands & wives - all serving Kennedy's dark and witty moral fable, which bears out the Biblical adage that many are called but only a very few chosen.

    This stirring saga is drawn from true stories left behind by the soldiers of the First Empire, a dramatic tale of triumph and defeat.

    In 1942 a young Frenchwoman living in Somerset with her three little girls answered a broadcast appeal for holiday photographs to be sent to the War Office. She was invited to London for an interview, and a startling proposition was put to her. Reluctantly she accepted it. In a few months she had been trained as a British agent and, under the name "Céline", infiltrated into Southern France. Her run there was short but lively. She worked with the Resistance Movement, organising sabotage and the reception of parachuted agents and supplies. After six months the Germans arrested her with her Commanding Officer, known as "Raoul". So began her long ordeal in prison and concentration-camp. The Gestapo put certain questions to her; she had nothing to say, even after they had pulled out all her toenails. But her replies on other matters were such as to draw suspicion from her Commanding Officer to herself. The Gestapo condemned her to death, but did not kill her. After a year in a Parisian prison she was moved to the infamous concentration-camp for women at Ravensbrück. There she was buried for three months in total darkness, and witnessed the mass execution of her fellow-prisoners in the spring of 1945. To save his skin, the Camp Commandant took her with him to meet the advancing Americans. So Odette Sanson lived to receive the George Cross, the highest British decoration for gallantry that can be awarded to a woman. She also holds the M.B.E. and the French Légion d'Honneur. In 1947 she became the wife of her 'chief', Captain Peter Churchill, D.S.O., M.C.Jerrard Tickell - the distinguished author of such widely popular novels as Appointment with Venus, Soldier from the Wars Returning and The Hero of Saint Roger - has told Odette's story with practised skill. His description of her last two years is particularly impressive for its attempt to suggest how a woman who had no hope to escape death could yet preserve her mind in peace. Odette has been filmed with Anna Neagle in the title-role.

    Anxious that she will remain encased in her solitary life as a school secretary, Camilla steps into an unlikely liaison with Richard Elton, a handsome, assured - and dangerous - liar.

    It parades statesmen, poets, philosopers and scientists, Raleigh and Bacon, Shakespeare and Milton, and Boyle and Halley. They, together with less well known figures, are brought to life in the recorded memories of a vast circle of Aubrey's acquaintance and from the personal knowledge of an author who revelled in the variety of human nature and in the intimate, specific and sometimes scandalous aspects of his subjects' lives.

    As a child he is faced with his father's bankruptcy. As a young man, he finds his career at the Bar hindered by a neurotic wife. Separation from her is impossible however.

    'If I were really grown-up now, I should say good-bye to you and walk out of your life. And yet I cannot bear to go.' Caroline is twenty-two, gamine and vociferous, neither daunted nor impressed by the prospect of a promising stage career. Then she meets Michael Knowles, a successful middle-aged surgeon, and her career slips into second place beside brief meetings, midnight trysts and the welcome anonymity of foreign cities, as they seek to evade the shadow of Mercedes, Michael's estranged wife. London of the 1930s gives way to the Blitz and the pain of separation, but the intensity of wartime does nothing to deflect Caroline's obsession with the three-cornered relationship. In America, some years later, she meets Mercedes for the first time. Discovering an unexpected bond with her, Caroline begins to comprehend her own misinterpretation of the past.

    At first glance one might be disposed to dismiss Miss Towers as an imitation Jane Austen, but it would be a mistaken judgment, for her cool detachment and ironic eye are directed more often than not against the sensible breeze that blasts and withers, the forthright candour that kills the soul. Miss Towers flashes and shines now this way, now that, like a darting sunfish.' 'At her best her prose style is a shimmering marvel,' wrote the Independent on Sunday, 'and few writers can so deftly and economically delineate not only the outside but the inside of a character…There's always more going on than you can possibly fathom.' And the Guardian said: 'Her social range may not be wide, but her descriptions are exquisite and her tone poised between the wry and the romantic.' Five of the stories were read on BBC Radio 4.

    Clock Without Hands relates the unexpected and macabre impact of a sordid murder on the mild-mannered neighbour who witnesses the crime. In Flight to the World’s End, a desperate boy flees his cruel life at an orphanage, only to discover a harsh truth about the world outside. And in Fairy Gold, a clerk plays a malicious practical joke on his impoverished co-worker, with unpredictable and startling consequences.Gerald Kersh (1911-1968) published more than thirty books, including the noir classic Night and the City (1938) and Fowlers End (1957), which Anthony Burgess called “one of the great comic novels of the century,” as well as hundreds of short stories which were once ubiquitous in British and American magazines. But though he has been championed by Angela Carter, Harlan Ellison, Ian Fleming, Michael Moorcock and others, Kersh has undeservedly fallen into neglect since his death. This edition of one of his lesser-known books is the first-ever reprint and includes a new introduction by Thomas Pluck.CONTEMPORARY REVIEWS“How easy Mr. Kersh makes it all seem! How admirably he sets the scene, the atmosphere . . . very neatly done.” – The Observer“Three short, rough novels, hard-hitting, battering the emotions without compunction . . . Kersh tells a story, as such, rather better than anybody else.” – Pamela Hansford Johnson, Daily Telegraph