This extraordinarily sensitive and insightful portrait of religious life centers on Philippa Talbot, a highly successful professional woman who leaves her life among the London elite to join a cloistered Benedictine community.

    This, her autobiography, makes plain how it is she knows her background and her characters so well. The Kate of the title is not Catherine Cookson, but her mother.OUR KATE is about living with hardship and poverty. The story is told from the viewpoint of a highly sensitive child, later the mature woman, whose zest for life and unquenchable sense of humor made Catherine Cookson a warm, engaging writer.

    Obsessed with an irresistible fascination for the enigmatic Sarah, Charles is hurtled by a moment of consummated lust to the brink of the existential void. Duty dictates that his engagement to Tina must be broken as he goes forth once again to seek the woman who has captured his Victorian soul & gentleman's heart.

    Morton seized the chance to explore a part of Italy that was comparatively unknown. He went from the heel to the toe of Italy and explored the undeveloped rivers of the Tyrrhenian and Ionian coastlines, met local peoples and learned about their traditions and folklore, and discovered an Italy not previously exposed to travellers.

    Time and the Conways.-I have been here before.-An inspector calls.-The linden tree.

    The police collaborate with racketeers to keep an uneasy peace, periodically broken by violent gang wars. Dido Peach comes to prominence by breaking the unwritten rules of the street. For a brief time he rules the underworld. His fall is sudden and spectacular, shaking even the callous and vicious neighbourhood in which he is trapped. This new edition is introduced by Ken Worpole, author of Dockers and Detectives (Five Leaves), which rekindled interest in Baron and many other important yet overlooked British writers of the 20th century.

    an age that swung between extremes of elegance and refinement and the depths of sodden brutality. The central figure is the Prince Regent, Prinny, and though he sometimes appears as a gigantic spoilt child, he was famously good company and a notable patron of the arts. The author portrays the personalities of the giants of the romantic age - Byron, Shelley, Sheridan, Wordsworth, Jane Austen and Sir Walter Scott; Davy Faraday and Macadam; Turner, Constable and Cotman - to name a few. It was an age of extravagance; an age marked by great eccentricities and prodigous jokes; the luddite riots; the Battles of Waterloo and Peterloo; the first waltzes and the first locomotives. J. B. Priestley, in his usual highly professional style, captured the era splendidly.

    He published little until the appearance of Poems of MrJohn Milton, both English and Latin in 1646, when he was 37. Bythis time he was deeply committed to a political vocation, andbecame an articulate and increasingly indispensable spokesman forthe Independent cause. He wrote the crucial justifications for thetrial and execution of Charles I, and, as Secretary for ForeignTongues to the Council of State, was the voice of the English revolution to the world at large. After the failure of the Commonwealth he was briefly imprisoned; blind and in straitened circumstances he returned to poetry, and in 1667 published a ten-book version of Paradise Lost, his biblical epic written, as he put it, after 'long choosing, and beginning late'. In 1671, Paradise Regained and Samson Agonistes appeared, followed two years later by an expanded edition of his shorter poems. The canon was completed in 1674, the year of his death, with the appearance of the twelve-book Paradise Lost, which became a classic almost immediately. His influence on English poetry and criticism has been incalculable.

    But when an unexpected visitor convinces Maude to visit old friends in France (and an old nemesis, who persistently calls her "the snow-woman"), she is brought face to face with the long-suppressed emotions, sorrows, and misunderstandings of the past. Upon her return to London, she finds her frozen life invaded by a young mother and her son (born on great aunt Dorothea's sofa, no less) who have been more or less adopted by her long-time maid Millie. And Maude finds the snow of years of bitterness beginning to melt away.In The Snow-Woman, first published in 1969 and out of print for decades, Stella Gibbons has created one of her most complex and poignant, yet still very funny, tales-of aging, coming to terms, and rediscovering life. This new edition features an introduction by twentieth-century women's historian Elizabeth Crawford.'Stella Gibbons sees people as they really are but she observes them so lovingly as well as acutely that one loves them too' Elizabeth Goudge

    

    But, when a Soviet spy ship runs aground in one half of the island and the Marines of the U.S. Sixth Fleet occupy the other half, this insignificant territory becomes the subject of intense confrontation between Washington and Moscow.

    From the beginning he showed a useful knack for cultivating influential literary friends and for giving audiences what they were sure to like. Early in 1693, his first comedy, The Old Batchelour, pleased the public at Drury Lane, and critics hailed the appearance of a new talent in the theatre who gave a shark edge to the theatrical conventions at the time. Much was expected of Congreve's second offering, The Double Dealer, mounted later the same year. Its surprisingly bitter tone disconcerted many listeners, however, and the play drew only moderate praise. But this setback proved temporary, and Congreve found his reputation regained with Love for Love, and in 1700 his finest comedy of manners The Way of the World. After this he wrote no more comedies. Aware of changing tastes in his audience, and annoyed by critical squabbles over the question of morality in his plays, he retired at the age of thirty to the life of a gentleman of leisure.

    Its metrical form is the most intricate in Middle English Romance, including rhyme, alliteration, and stanza-linking. The stanza consists of nine long alliterative lines rhyming ababababc and a wheel of four shorter lines rhyming dddc.In this first critical edition based on all four extant manuscripts, Robert J. Gates has contributed careful commentary with extensive critical apparatus. He attempts to reconstruct original readings that have been lost in one or more of the manuscripts. His glossary, however, uses words from the variant readings as well as those accepted in the edited text.Using the editorial methods developed by George Kane in his edition of Piers Plowman, Gates gives abundant new evidence of the usefulness of these methods. He believes that the edition shows that written poems could be formulaic and that scribes often substituted readings consisting of formulaic whole or half lines.