At the time few details of his crimes were made known. By his own confession he was a Soviet spy and rumours later circulated that his actions had endangered British agents, but the reasons for such a severe punishment were never revealed. To the public, Blake was simply the greatest traitor of the Cold War. Yet, as Roger Hermiston reveals in this thrilling new biography, his story touches not only the depths of treachery, but also the heights of heroism. In WWII the teenage Blake performed sterling deeds for the Dutch resistance, before making a dramatic bid for freedom across Nazi-occupied Europe. Later recruited by British Intelligence, he quickly earned an exemplary reputation and was entrusted with building up the Service's networks behind the Iron Curtain. And, following a posting to Seoul, he also suffered for his adopted country, when captured by North Korean soldiers at the height of their brutal war with the South. By the time of his release in 1953, Blake was a hero, one of the Service's brightest and best officers. But unbeknownst to SIS they were harbouring a mole. Week after week, year after year, Blake was assiduously gathering all the important documents he could lay his hands on and passing them to the KGB. Drawing on hitherto unpublished records from his trial, new revelations about his dramatic jailbreak from Wormwood Scrubs, and original interviews with former spies, friends and the man himself, 'The Greatest Traitor' sheds new light on this most complex of characters and presents a fascinating shadow history of the Cold War.

    "A superb biography of an exceptional novelist" (New Yorker). Named a Notable Book of the Year by the New York Times. Index; photographs.

    The author, who draws on thousands of letters Sayers wrote, reveals her to be a complex woman. Sayers was a very private person who even hid the existence of an illegitimate child from her closest friends. She was also someone to whom faith was central and wrote many theological books as well as the famous detective novels. Her radio play on the life of Christ, "The Man Born to be King", caused a furore when it was first broadcast and went on to win acclaim. She was linked with the Inklings - the group of writers which included C.S. Lewis, Charles Williams, J.R.R. Tolkien and others.

    She is the mermaid of whom poet Robert Lowell writes in The Dolphin (and he was clutching her portrait when he died). She was Lady Caroline Blackwood, legendarily witty and alluring but also a legendary drunk. Raised an heiress to the Guinness fortune, Blackwood (1931-1996) moved easily among the aristocracy, the bohemians of postwar England and the liberal intelligentsia of 1960s New York. She has been called a muse to genius-though her marriages to Lucian Freud, the composer Israel Citkowitz, and Robert Lowell were as troubled as they were inspiring-and she was an author herself, short-listed for the Booker Prize in 1977. In this first biography of Blackwood, Nancy Schoenberger deftly paints a complex woman who was captivating to her dying day.

    His marriage to the poet Sylvia Plath marked his whole life, and he never entirely recovered from her suicide in 1963. Many people have held his adultery responsible for Plath's death; in this insightful book, Elaine Feinstein explores an altogether more complex situation, and throws a sad new light on his relationship with his lover Assia Wevill, who also killed herself along with their young daughter.Drawing on extensive archival material and interviews with childhood friends, fellow undergraduates, poets, and critics, Feinstein gives a portrait of a large-spirited, magnetic personality intrigued by the forms of magical experience that preoccupied Shakespeare and Yeats, but who was nevertheless a down-to-earth Yorkshire man, whose poetic vision encompassed not only his love of the natural world but also all the evidence of human brutality in the past century.

    Set against the backdrop of a world where equality is still to be achieved, it is a vital reminder of the great women who fought for change.

    Eliot, gives a voice to the woman who, for seventeen years, had shared a unique literary partnership with Eliot but who was scapegoated for the failure of the marriage and all but obliterated from historical record. In so doing, Painted Shadow opens the way to a new understanding of Eliot’s poetry.Vivienne longed to tell her whole story; she wrote in her diary: “You who in later years will read these very words of mine will be able to trace a true history of this epoch.” She believed (as did Virginia Woolf) that she was Eliot’s muse, the woman through whom he transmuted life into art. Yet Vivienne knew the secrets of his separate and secret life — which contributed to her own deepening hysteria, drug addiction, and final abandonment: the tragedy of a marriage that paired a repressed yet sensual man with an extroverted woman who longed for a full sexual relationship with her husband.Out of this emotional turbulence came one of the most important English poems of the twentieth century: The Waste Land, which Carole Seymour-Jones convincingly shows cannot be fully understood without reference to the relationship of the poet and his first wife. Drawing on papers both privately owned and in university library archives and, most importantly, on Vivienne Eliot’s own journals left to the Bodleian Library, Oxford, Carole Seymour-Jones uses many hitherto unpublished sources and opens the way to a new understanding of Eliot’s poetry.

    Public transportation, electrical illumination, standard time, and an improved water supply radically altered the life of the modest folk, who found time for travel and leisure activities--including sports such as cycling. Change became the nature of things, and people believed that further improvement was not only possible but inevitable.In this thoroughly engaging history, Eugen Weber describes ways of life, not as recorded by general history, but as contemporaries experienced them. He writes about political atmosphere and public prejudices rather than standard political history. Water and washing, bicycles and public transportation engage him more than great scientific discoveries. He discusses academic painting and poster art, the popular stage and music halls, at greater length than avant-garde and classic theater or opera. In this book the importance of telephones, plumbing, and central heating outranks such traditional subjects as international developments, the rise of organized labor, and the spread of socialism.Weber does not neglect the darker side of the fin de si�cle. The discrepancy between material advance and spiritual dejection, characteristic of our own times, interests him as much as the idea of progress, and he reminds us that for most people the period was far from elegant. In the lurid context of military defeat, political instability, public scandal, and clamorous social criticism, one had also to contend with civic dirt, unsanitary food, mob violence, and the seeds of modern-day scourges: pollution, drugs, sensationalism, debased art, the erosion of moral character. Yet millions of fin de si�cle French lived as only thousands had lived fifty years before; while their advance was slow, their right to improvement was conceded.

    As the book opens, in 1963, South Africa is in crisis and the white state is under siege. On August 15, the dreaded security police swoop down on Griggs Bookstore—Durban’s finest literary haunt and a place where African National Congress (ANC) and South African Communist Party comrades frequented to receive or deliver messages and money to advance the cause of the struggle—to arrest Eleanor Kasrils, the manager’s daughter. The police threaten to "break her or hang her" if she does not lead them to her lover, Ronnie Kasrils, who is wanted on suspicion of sabotage for setting off explosions and toppling electricity poles. Though she comes under intense pressure during interrogation, Eleanor has her own secret to conceal. She has been acting as a clandestine agent for the underground ANC, utilizing the books as a means to deliver documents: "If the contact was delivering a document it was handed to her with a book for purchase. Similarly if she had a document that the courier was collecting, it would be hidden within the pages of a book already packaged and handed over as a purchase." Always, the transfer of secret documents could only take place once the recipient whispered a code: "Well, let me take both books." In order to protect her handlers and Ronnie at all costs, she astutely convinces the police that she is on the verge of a nervous breakdown and, still a prisoner, is sent off to a mental hospital in Pietermaritzburg for assessment. It is here that she plots her escape and—pursued by the police—flees with Ronnie into exile.

    Selina Hastings, who was granted unrestricted access to his personal papers by Waugh's family, has uncovered a wealth of new material in her eight years of research for this volume. Letters, diaries, and family photographs shed new light on Waugh's childhood, his affairs at Oxford, his ill-fated first marriage and subsequent romantic adventures, his World War II military service, and his enduring but thorny friendships with such notable figures as Diana Cooper, Ann Fleming, and Nancy Mitford. Perceptive, fascinating, by turns hilarious and tragic, Hastings's portrait gives us Waugh's glittering social life at Oxford, where he was a friend of Harold Acton, Cyril Connolly, Anthony Powell, and Alastair Graham, the inspiration for Sebastian Flyte in Brideshead Revisited. Waugh then followed a diverse career as schoolmaster, world traveler, war co

    du Maurier was immediately established as the queen of the psychological thriller. But the more fame this and her other books encouraged, the more reclusive Daphne du Maurier became.Margaret Forster's award-winning biography could hardly be more worthy of its subject. Drawing on private letters and papers, and with the unflinching co-operation of Daphne du Maurier's family, Margaret Forster explores the secret drama of her life - the stifling relationship with her father, actor-manager Gerald du Maurier; her troubled marriage to war hero and royal aide, 'Boy' Browning; her wartime love affair; her passion for Cornwall and her deep friendships with the last of her father's actress loves, Gertrude Lawrence, and with an aristocratic American woman.Most significant of all, Margaret Forster ingeniously strips away the relaxed and charming facade to lay bare the true workings of a complex and emotional character whose passionate and often violent stories mirrored her own fantasy life more than anyone could ever have imagined.

    Her work stands out for its bawdiness and linguistic zest, its hospitality to the fantastic and the absurd, and its extraordinary inventiveness and range. Her life was as modern and as unconventional as anything in her fiction.Born Angela Olive Stalker in Eastbourne in 1940, her story spans the latter half of the twentieth century. After escaping an oppressive childhood and a difficult early marriage, the success of her first novels enable the freedoms of travel – journeying across America in a Greyhound bus, and then on to Tokyo, where she lived for three transformative years – before settling in London to write her last, great novels, amid the joys of late motherhood and prestigious teaching posts abroad. By the time of her tragic and untimely death at the age of fifty-one, she was firmly established as an iconoclastic writer whose fearlessly original work had reinvigorated the literary landscape and inspired a new generation.This is the story of how Angela Carter invented herself – as a new kind of woman and a new kind of writer – and how she came to write such seductive works as The Bloody Chamber, Nights at the Circus and Wise Children. Edmund Gordon has followed in Carter’s footsteps to uncover a life rich in incident and adventure. With unrestricted access to her manuscripts, letters and journals, and informed by dozens of interviews with her friends and family, this major biography offers a definitive portrait of one of our most dazzling writers.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    But it is Anthony as a husband and lover that intrigues her most. She looks at the nature of his love for his wife, Rose and at his love for Kate Field. The author does say that some of it is imagined and she cannot prove what she says happened or is said, but she is "sure of it" herself.

    The first of the literary Waughs was Arthur, who, when he won the Newdigate Prize for poetry at Oxford in 1888, broke with the family tradition of medicine. He went on to become a distinguished publisher and an immensely influential book columnist. He fathered two sons, Alec and Evelyn, both of whom were to become novelists of note (and whom Arthur, somewhat uneasily, would himself publish); both of whom were to rebel in their own ways against his bedrock Victorianism; and one of whom, Evelyn, was to write a series of immortal novels that will be prized as long as elegance and lethal wit are admired. Evelyn begat, among seven others, Auberon Waugh, who would carry on in the family tradition of literary skill and eccentricity, becoming one of England’s most incorrigibly cantankerous and provocative newspaper columnists, loved and loathed in equal measure. And Auberon begat Alexander, yet another writer in the family, to whom it has fallen to tell this extraordinary tale of four generations of scribbling male Waughs.The result of his labors is Fathers and Sons, one of the most unusual works of biographical memoir ever written. In this remarkable history of father-son relationships in his family, Alexander Waugh exposes the fraught dynamics of love and strife that has produced a succession of successful authors. Based on the recollections of his father and on a mine of hitherto unseen documents relating to his grandfather, Evelyn, the book skillfully traces the threads that have linked father to son across a century of war, conflict, turmoil and change. It is at once very, very funny, fearlessly candid and exceptionally moving—a supremely entertaining book that will speak to all fathers and sons, as well as the women who love them.