A Polar wind blows through it, and birds of prey hover over it." So Melville wrote of his masterpiece, one of the greatest works of imagination in literary history. In part, Moby-Dick is the story of an eerily compelling madman pursuing an unholy war against a creature as vast and dangerous and unknowable as the sea itself. But more than just a novel of adventure, more than an encyclopaedia of whaling lore and legend, the book can be seen as part of its author's lifelong meditation on America. Written with wonderfully redemptive humour, Moby-Dick is also a profound inquiry into character, faith, and the nature of perception.This edition of Moby-Dick, which reproduces the definitive text of the novel, includes invaluable explanatory notes, along with maps, illustrations, and a glossary of nautical terms.

    Written in what DeLillo calls "super-omniscience" the sentences sweep from young Cotter Martin as he jumps the gate to the press box, soars over the radio waves, runs out to the diamond, slides in on a fast ball, pops into the stands where J. Edgar Hoover is sitting with a drunken Jackie Gleason and a splenetic Frank Sinatra, and learns of the Soviet Union's second detonation of a nuclear bomb. It's an absolutely thrilling literary moment. When Bobby Thomson hits Branca's pitch into the outstretched hand of Cotter—the "shot heard around the world"—and Jackie Gleason pukes on Sinatra's shoes, the events of the next few decades are set in motion, all threaded together by the baseball as it passes from hand to hand."It's all falling indelibly into the past," writes DeLillo, a past that he carefully recalls and reconstructs with acute grace. Jump from Giants Stadium to the Nevada desert in 1992, where Nick Shay, who now owns the baseball, reunites with the artist Kara Sax. They had been brief and unlikely lovers 40 years before, and it is largely through the events, spinoffs, and coincidental encounters of their pasts that DeLillo filters the Cold War experience. He believes that "global events may alter how we live in the smallest ways," and as the book steps back in time to 1951, over the following 800-odd pages, we see just how those events alter lives. This reverse narrative allows the author to strip away the detritus of history and pop culture until we get to the story's pure elements: the bomb, the baseball, and the Bronx. In an epilogue as breathless and stunning as the prologue, DeLillo fast-forwards to a near future in which ruthless capitalism, the Internet, and a new, hushed faith have replaced the Cold War's blend of dread and euphoria.Through fragments and interlaced stories—including those of highway killers, artists, celebrities, conspiracists, gangsters, nuns, and sundry others—DeLillo creates a fragile web of connected experience, a communal Zeitgeist that encompasses the messy whole of five decades of American life, wonderfully distilled.

    Unbeknownst to D'Artagnan, Aramis and Porthos plot to remove the inept king and place the king's twin brother on the throne of France. Meanwhile, a twenty-three-year-old prisoner known only as "Philippe" wastes away deep inside the Bastille. Forced to wear an iron mask, Phillippe has been imprisoned for eight years, has no knowledge of his true identity, and has not been told what crime he's committed. When the destinies of the king and Phillippe converge, the Three Musketeers and D'Artagnan find themselves caught between conflicting loyalties.

    In his previous novels, he has explored this inner world and its manifestations in the lives of his characters with rare inventiveness and subtlety, shrewd humor and insight. In When We Were Orphans, his first novel in five years, he returns to this terrain in a brilliantly realized story that illuminates the power of one's past to determine the present.Christopher Banks, an English boy born in early-twentieth-century Shanghai, is orphaned at age nine when his mother and father both vanish under suspicious circumstances. Sent to live in England, he grows up to become a renowned detective and, more than twenty years later, returns to Shanghai, where the Sino-Japanese War is raging, to solve the mystery of the disappearances.The story is straightforward. Its telling is remarkable. Christopher's voice is controlled, detailed, and detached, its precision unsurprising in someone who has devoted his life to the examination of details and the rigors of objective thought. But within the layers of his narrative is slowly revealed what he can't, or won't, see: that his memory, despite what he wants to believe, is not unaffected by his childhood tragedies; that his powers of perception, the heralded clarity of his vision, can be blinding as well as enlightening; and that the simplest desires--a child's for his parents, a man's for understanding--may give rise to the most complicated truths.A masterful combination of narrative control and soaring imagination, When We Were Orphans is Kazuo Ishiguro at his best.

    For this is the eve of the Battle of Waterloo, and many of the handsome young men attending the ball will find themselves, the very next day, on the battlefield.For Sophia Trenchard, the young and beautiful daughter of Wellington's chief supplier, this night will change everything. But it is only twenty-five years later, when the upwardly mobile Trenchards move into the fashionable new area of Belgravia, that the true repercussions of that moment will be felt. For in this new world, where the aristocracy rub shoulders with the emerging nouveau riche, there are those who would prefer the secrets of the past to remain buried...

    It contains his only novel, The Portrait of Dorian Gray as well as his plays, stories, poems, essays and letters. Illustrated with many photographs, the book includes introductions to each section by Wilde's grandon, Merlin Holoand, Owen Dudley Edwards, Declan Kibertd and Terence Brown. A comprehensive bibliography of works by and about Oscar Wilde together with a chronological table of his life and work are also included.

    In his most dazzling novel since the groundbreaking New York Times bestseller An Instance of the Fingerpost, Iain Pears tells the story of John Stone, financier and arms dealer, a man so wealthy that in the years before World War One he was able to manipulate markets, industries, and indeed entire countries and continents.A panoramic novel with a riveting mystery at its heart, Stone’s Fall is a quest to discover how and why John Stone dies, falling out of a window at his London home.Chronologically, it moves backwards–from London in 1909 to Paris in 1890, and finally to Venice in 1867– and in the process the quest to uncover the truth plays out against the backdrop of the evolution of high-stakes international finance, Europe’s first great age of espionage, and the start of the twentieth century’s arms race.Like Fingerpost, Stone’s Fall is an intricately plotted and richly satisfying puzzle–an erudite work of history and fiction that feels utterly true and oddly timely–and marks the triumphant return of one of the world’s great storytellers.

    A deep sense of tradition binds him to his inheritance, though he loathes the social circus he is a part of. Deception, infidelity and greed hide beneath the glittering surface of good manners. Among the guests at a lavish party are two people who will change Sebastian's life: Lady Roehampton, who will initiate him in the art of love; and Leonard Anquetil, a polar explorer who will lead Sebastian and his free-spirited sister Viola to question their destiny.A portrait of fashionable society at the height of the era, THE EDWARDIANS revealed all that was glamorous about the period - and all that was to lead to its downfall. First published in 1930, it was Vita Sackville-West's most successful book.

    Bradley hopes to retire to the country, but predatory friends and relations dash his hopes of a peaceful retirement. He is tormented by his melancholic sister, who has decided to come live with him; his ex-wife, who has infuriating hopes of redeeming the past; her delinquent brother, who wants money and emotional confrontations; and Bradley's friend and rival, Arnold Baffin, a younger, deplorably more successful author of commercial fiction. The ever-mounting action includes marital cross-purposes, seduction, suicide, abduction, romantic idylls, murder, and due process of law. Bradley tries to escape from it all but fails, leading to a violent climax, and a coda that casts shifting perspectives on all that has preceded.

    When Garrigan tends to Amin, the dictator, in his obsession for all things Scottish, appoints him as his personal physician. And so begins a fateful dalliance with the central African leader whose Emperor Jones-style autocracy would transform into a reign of terror.In The Last King of Scotland Foden's Amin is as ridiculous as he is abhorrent: a grown man who must be burped like an infant, a self-proclaimed cannibalist who, at the end of his 8 years in power, would be responsible for 300,000 deaths. And as Garrigan awakens to his patient's baroque barbarism--and his own complicity in it--we enter a venturesome meditation on conscience, charisma, and the slow corruption of the human heart. Brilliantly written, comic and profound, The Last King of Scotland announces a major new talent.

    The last don is Domenico Clericuzio, a wise and ruthless man who is determined to see his heirs established in legitimate society but whose vision is threatened when secrets from the family's past spark a vicious war between two blood cousins.This is a mesmerizing tale that takes us inside the equally corrupt worlds of the mob, the movie industry, and the casinos - where beautiful actresses and ruthless hit men are ruled by lust and violence, where sleazy producers and greedy studio heads are drunk with power, where crooked cops and desperate gamblers play dangerous games of betrayal, and where one man controls them all.

    Or at least that was the plan, until the ship runs into trouble and David is rescued by Alan Breck Stewart, fugitive Jacobite and, by his own admission, a ‘bonny fighter’. Balfour, a canny lowlander, finds an echo of some wilder and more romantic self in the wilful and courageous Highland spirit of Alan Breck. A strange and difficult friendship is born, as their adventures begin.Kidnapped has become a classic of historical romance the world over and is justly famous as a novel of travel and adventure in the Scottish landscape. Stevenson’s vivid descriptive powers were never better than in his account of remote places and dangerous action in the Highlands in the years after Culloden.‘A cracking tale of low skulduggery and high adventure, Robert Louis Stevenson’s Kidnapped has enthralled generations of readers since its first publication in 1886. A book for thrill-seekers of all ages, this romp through Jacobite Scotland is a true classic.’ Sunday Herald‘A delicately balanced book, expertly controlled, sharply focused, and written with an affectionate irony. It is perhaps the finest of Stevenson’s novels.’ Jenni Calder

    Elizabeth Jenkins's artistry, however, transforms the bare facts of this case from the annals of Victorian England's Old Bailey into an absolutely spine-chilling exploration of the depths of human depravity.

    Penelope with her mother and brother struggles to maintain their vast and crumbling ancestral home while postwar London spins toward the next decade's cultural revolution. Penelope wants nothing more than to fall in love and when her new best friend Charlotte a free spirit in the young society set drags Penelope into London with all of its grand parties she sets in motion great change for them all. Charlotte's mysterious and attractive brother Harry uses Penelope to make his American ex-girlfriend jealous with unforeseen consequences and a dashing wealthy American movie producer arrives with what might be the key to Penelope's and her family's future happiness. Vibrant witty and filled with vivid historical detail The Lost Art of Keeping Secrets is an utterly unique debut novel about a time and place just slipping into history.

    Consisting of a series of episodes in the story of the English outlaw Robin Hood and his band of Merry Men, the novel compiles traditional material into a coherent narrative in a colorful, invented "old English" idiom that preserves some flavor of the ballads, and adapts it for children. The novel is notable for taking the subject of Robin Hood, which had been increasingly popular through the 19th century, in a new direction that influenced later writers, artists, and filmmakers through the next century.[1]Pyle had been submitting illustrated poems and fairy tales to New York publications since 1876, and had met with success. The Merry Adventures of Robin Hood was the first novel he attempted. He took his material from Middle Age ballads and wove them into a cohesive story, altering them for coherence and the tastes of his child audience. For example, he included "Robin Hood and the Curtal Friar" in the narrative order to reintroduce Friar Tuck. He needed a cooperative priest for the wedding of outlaw Allan a Dale (Pyle's spelling of the original Alan-a-Dale) to his sweetheart Ellen. In the original "A Gest of Robyn Hode", the life is saved of an anonymous wrestler who had won a bout but was likely to be murdered because he was a stranger. Pyle adapted it and gave the wrestler the identity of David of Doncaster, one of Robin's band in the story "Robin Hood and the Golden Arrow." In his novelistic treatment of the tales, Pyle thus developed several characters who had been mentioned in only one ballad, such as David of Doncaster or Arthur a Bland. Pyle's book continued the 19th-century trend of portraying Robin Hood as a heroic outlaw who robs the rich to feed the poor; this portrayal contrasts with the Robin Hood of the ballads, where the protagonist is an out-and-out crook, whose crimes are motivated by personal gain rather than politics or a desire to help others.[1] For instance, he modified the ballad "Robin Hood's Progress to Nottingham", changing it from Robin killing fourteen foresters for not honoring a bet to Robin defending himself against a band of armed robbers. Pyle has Robin kill only one man, who shoots at him first. Tales are changed in which Robin steals all that an ambushed traveler carried, such as "Robin Hood and the Bishop of Hereford", so that the victim keeps a third and another third is dedicated to the poor. Pyle did not have much concern for historical accuracy, but he renamed the queen-consort in the story "Robin Hood and Queen Katherine" as Eleanor (of Aquitaine). This made her compatible historically with King Richard the Lion-Hearted, with whom Robin eventually makes peace. The novel was first published by Scribner's in 1883, and met with immediate success,[1] ushering in a new era of Robin Hood stories. It helped solidify the image of a heroic Robin Hood, which had begun in earlier works such as Walter Scott's 1819 novel Ivanhoe. In Pyle's wake, Robin Hood has become a staunch philanthropist protecting innocents against increasingly aggressive villains.[1] Along with the publication of the Child Ballads by Francis James Child, which included most of the surviving Robin Hood ballads, Pyle's novel helped increase the popularity of the Robin Hood legend in the United States. The Merry Adventures also had an effect on subsequent children's literature. It helped move the Robin Hood legend out of the realm of penny dreadfuls and into the realm of respected children's books.[2] After Pyle, Robin Hood became an increasingly popular subject for children's books: Louis Rhead's Bold Robin Hood and His Outlaw Band (1912) and Paul Creswick's Robin Hood (1917), illustrated by Pyle's pupil N. C.