It is a saga, as well. A saga must have a hero, and the hero of this one is a janitor with a missing bottle. The bottle is blue, very, very old, and embossed with the image of a goat-horned god. If the liquid in the bottle is actually is the secret essence of the universe, as some folks seem to think, it had better be discovered soon because it is leaking and there is only a drop or two left.

    As they explore the city of their present day, they also explore its recent past and its forgotten people. Through the lives of those on the fringe of society, we learn what it is like - and what it has always been like - to live in the great, sprawling, polyphonic, multicoloured capital.

    Billed as The Lucky Chances, the sisters are the illegitimate and unacknowledged daughters of Sir Melchior Hazard, the greatest Shakespearean actor of his day. At once ribald and sentimental, glittery and tender, this rambunctious family saga is Angela Carter at her bewitching best.

    Jerome's Three Men in a Boat includes an introduction and notes by Jeremy Lewis in Penguin Classics.Martyrs to hypochondria and general seediness, J. and his friends George and Harris decide that a jaunt up the Thames would suit them to a 'T'. But when they set off, they can hardly predict the troubles that lie ahead with tow-ropes, unreliable weather forecasts and tins of pineapple chunks - not to mention the devastation left in the wake of J.'s small fox-terrier Montmorency. Three Men in a Boat was an instant success when it appeared in 1889, and, with its benign escapism, authorial discursions and wonderful evocation of the late-Victorian 'clerking classes', it hilariously captured the spirit of its age.In his introduction, Jeremy Lewis examines Jerome K. Jerome's life and times, and the changing world of Victorian England he depicts - from the rise of a new mass-culture of tabloids and bestselling novels to crazes for daytripping and bicycling.

    At the center of the story are a wealthy, self-involved newspaper publisher and his scheming, novelist wife, Amanda Keeler. Powell always denied that Amanda Keeler was based upon the real-life Clare Boothe Luce, until years later when she discovered a memo she’d written to herself in 1939 that said, “Why not do a novel on Clare Luce?” Which prompted Powell to write in her diary “Who can I believe? Me or myself?”

    It had its differences; its ice goblins, its curious furry lorrin, its thickening water, and its unearthly tides, but for a young man like Alika-Drove thinking of a vacation by the sea these oddities were the norm.But this vacation was different. Rax was coming into the ascendant and Rax, that cold second sun, was the equivalent of evil, of Satan and of Hell. And as its time drew near everything began to get warped and sinister...until for Alika-Drove it would be either the harsh brutal end of his innocence or the end of his world forever.

    Newly arrived from her tour of the Continent, Sophy invites herself into the circle of her relatives. When Lady Ombersley agrees to take in her young niece, no one expects Sophy, who sweeps in and immediately takes the town by storm. Beautiful, gay, impulsive, shockingly direct, Sophy sweeps into elegant London society and scatters conventions and traditions before her like wisps in a windstorm. Resourceful, adventurous and utterly indefatigable, Sophy is hardly the mild-mannered girl that the Rivenhalls expect when they agree to take her in. Kind-hearted Aunt Lizzy is shocked, and her arrogant stern cousin Charles Rivenhall, the Ombersley heir, vows to rid his family of her meddlesome ways by marrying her off.But vibrant and irrepressible Sophy was no stranger to managing delicate situations. After all, she'd been keeping opportunistic females away from her widowed father for years. Staying with her relatives could be her biggest challenge yet. But Sophy discovers that her aunt's family is in desperate need of her talent for setting everything right: her aunt's husband is of no use at all, her ruthlessly handsome cousin Charles has tyrannical tendencies that are being aggravated by his pedantic bluestocking fiancee Eugenia Wraxton; her lovely cousin Cecelia is smitten with an utterly unsuitable suitor, a beautiful but feather-brained poet; her cousin Herbert is in dire financial straits and has fallen foul of a money-lender; and the younger children are in desperate need of some fun and freedom, and Sophy's arrived just in time to save them all. With her inimitable mixture of exuberance and grace, Sophy becomes the mainstay of her hilariously bedeviled family, as a horsewoman, social leader and above all, as an ingenious match-maker. Using her signature unorthodox methods, Sophy sets out to solve all of their problems. By the time she's done, Sophy has commandeered household and Charles's horses, but she finds herself increasingly drawn to her eldest cousin. Could it be that the Grand Sophy had finally met her match? Can she really be falling in love with him, and he with her? And what of his betrothal to grim Eugenia?

    Readers were captivated by the adventures of the poet Snodgrass, the lover Tupman, the sportsman Winkle &, above all, by that quintessentially English Quixote, Mr Pickwick, & his cockney Sancho Panza, Sam Weller. From the hallowed turf of Dingley Dell Cricket Club to the unholy fracas of the Eatanswill election, via the Fleet debtor’s prison, characters & incidents sprang to life from Dickens’s pen, to form an enduringly popular work of ebullient humour & literary invention.

    That's the good news. The rest is Amis as usual, providing fun for himself and his readers at the expense of his characters.

    "Filled with warmth and humor, sadness and tenderness, songs and poems, Lake Wobegon Days is an unforgettable portrait of small-town American life, of why 'we are what we are' and why 'smart doesn't count for much."

    She knows she is different, that she is destined to become a feted authoress, owner of great riches and of Paradise House . . .After reading The Lady Irania, publishers Brace and Gilchrist are certain the novel will be a success, in spite of - and perhaps because of - its overblown style. But they are curious as to who could have written such a book: 'Some old lady, romanticising behind lace-curtains' . . . 'Angelica Deverell is too good a name to be true . . . she might be an old man. It would be an amusing variation. You are expecting to meet Mary Anne Evans and in Walks George Eliot twirling his moustache.' So nothing can prepare them for the pale young woman who sits before them, with not a seed of irony or a grain of humour in her soul.

    Outrageous, charming, and unforgettable, she’s been portrayed on stage and screen by Carol Channing and Marilyn Monroe and has become the archetype of the footloose, good-hearted gold digger, with an insatiable appetite for orchids, champagne, and precious stones. Here are her “diaries,” created by Anita Loos in the Roaring Twenties, as Lorelei and her friend Dorothy barrel across Europe meeting everyone from the Prince of Wales to “Doctor Froyd” – and then back home again to marry a Main Line millionaire and become a movie star. In this delightfully droll and witty book, Lorelei Lee’s wild antics, unique outlook, and imaginative way with language shine.

    While visiting his parents' stately home as a paying guest, Edith meets Charles, Earl Broughton, and heir to the Marquess of Uckfield, who runs the family estates in East Sussex and Norfolk. To the gossip columns he is one of the most eligible young aristocrats around.When he proposes. Edith accepts. But is she really in love with Charles? Or with his title, his position, and all that goes with it?One inescapable part of life at Broughton Hall is Charles's mother, the shrewd Lady Uckfield, known to her friends as "Googie" and described by the narrator---an actor who moves comfortably among the upper classes while chronicling their foibles---"as the most socially expert individual I have ever known at all well. She combined a watchmaker's eye for detail with a madam's knowledge of the world." Lady Uckfield is convinced that Edith is more interested in becoming a countess than in being a good wife to her son. And when a television company, complete with a gorgeous leading man, descends on Broughton Hall to film a period drama, "Googie's" worst fears seem fully justified.

    He is the curate sent by the bishop to assist Father Angwin-or is he? In the most unlikely of places, a superstitious town that understands little of romance or sentimentality, where bad blood between neighbors is ancient and impenetrable, miracles begin to bloom. No matter how copiously Father Angwin drinks while he confesses his broken faith, the level of the bottle does not drop. Although Fludd does not appear to be eating, the food on his plate disappears. Fludd becomes lover, gravedigger, and savior, transforming his dull office into a golden regency of decision, unashamed sensation, and unprecedented action. Knitting together the miraculous and the mundane, the dreadful and the ludicrous, Fludd is a tale of alchemy and transformation told with astonishing art, insight, humor, and wit.

    His arrival and introduction to the local society sets the stage for an urbane and polished tale.South Wind brilliantly evokes the dreamy, languorous quality of life on Nepenthe, a town of whitewashed houses perched on sheer rock cliffs above a gleaming sea. While peasants clamber up roads of black volcanic lava to work in the vineyards, aristocrats while away the torpid midday hours on sun-dappled terraces, discoursing of life and love. The memorable cast of characters includes a host of expatriates, freethinkers, eccentrics, politicians, zealots, and all manner of ne'er-do-wells who mingle in the picturesque settlement's taverns, villas, and streets. By the time Bishop Heard is ready to leave Nepenthe, there has been a murder, a fearsome volcanic eruption, an art forgery, and other nefarious doings — all recounted in eloquent descriptions, replete with provocative ideas, glittering epigrams, and mordant satire.