At thirty-four she finds that her external life of dreary routine fails to match up to her lush, wistful and dreamy internal life. Norah, her energetic and chaotic friend, is equally settled in her own marriage to an irritable university professor.Then Hugh Miller and his sister Claire descend upon the quiet town. On all four, the hypnotic charm of these two visitors exerts an enchanting spell. And after their departure, life - having been violently disrupted - will never be quite the same again . . .

    Henrietta is the third daughter in a large Victorian family, the misfit girl without the beauty or the talent to be loved. Querulous, bad-tempered, her meaningless life passes aimlessly by. But Henrietta has one saving grace. She knows herself for what she is, and self-knowledge, however bitter, turns her life of defeat into a certain kind of victory.

    Mamma, the archetype of all women who rule through weakness and suffering, dominates her Victorian household, idolizing her sons, rejecting the independent love of her only daughter. Mary, in response, both adores and hates her mother.

    Now one of her most endearing classics is being reissued for a new generation of readers. China Court is the story of the hours and days of a country house in Wales and five generations of the family who inhabited it.

    She also introduces us to specific characters as well as 'types' who will appear and reappear in changing relationships as the years go by. There is the middle-aged woman centrally involved in the events and activities around her; here, Laura Morland, a happily widowed author of very successful 'good bad books' (Thirkell herself?). A disappointed suitor and/or a brief, ill-conceived infatuation of younger man with older woman. At least two romances to work out—an older couple and a younger one—with mild crises along the way. A closing of ranks among the women vs the intruder nicknamed 'the Incubus' resolves both affairs to the satisfaction of all. Especially delightful are the children, servants and other retainers; well defined characters in their own right; from motor-mouthed young Tony Morland and his model railways to housekeeper Stoker and her grapevine among the servants of the neighbourhood.

    Muriel, who believes that ‘men do as they like’ whereas women ‘wait to see what they will do’, lives in a town in Yorkshire waiting – for what? She tries to conform to the values of her snobbish, socially ambitious mother; she tries to be ‘attractive’ to men.Throughout the description of life in small-town ‘Marshington’, Winifred Holtby expressed her conviction that young women should be allowed to live away from home, to work, to develop as personalities away from their families, to shake off the ties that many mothers seemed to think it was their prerogative to impose on their daughters.

    But all the characters and their relationships with each other are so lovingly portrayed that one cares passionately what happens even to the unpleasant ones. 'The New House, first published in 1936, reminds me of my favourite author Chekhov, who so influenced Lettice's generation of writers. Like him, she had perfect social pitch and could draw an arriviste developer as convincingly as a steely Southern social butterfly.''It is tempting to describe Rhoda Powell, the 30-plus, stay-at-home daughter of a widowed mother, as Brookneresque,' wrote the reviewer in the Guardian, 'even though Lettice Cooper wrote this wonderfully understated novel several decades before Anita Brookner mapped the defining features of quietly unhappy middle-class women.' While Kate Chisholm in The Spectator described Lettice Cooper as 'an intensely domestic novelist, unraveling in minute detail the tight web of family relations' but one who is also 'acutely aware of what goes on beyond the garden gate. The exposé of a family under strain because of changing times is curiously more vivid and real than in many novels about family life written today.'

    There is Victoria, a Pre-Raphaelite beauty intent on marriage; Maurice, shaking his fist at the injustices of the world; Stanley, a follower of Ruskin ad Morris, doing good as radical fashion dictates; Irving, a lusty young capitalist, and Una, born for happy marriage and maternity. All are watched from the sidelines by their sister Rome. Detached, intelligent, urbane, she observes three generations of her family strut and fret their hour upon the stage. To her their sound and fury signify nothing -- but to us the memory of Rome's one brief love affair strikes the final note of truth, defiantly affirming that it is better to have loved and lost...

    This story of three closely related Oxfordshire communities - a hamlet, the nearby village and a small market town - is based on the author's experiences during childhood and youth. It chronicles May Day celebrations and forgotten children's games, the daily lives of farmworkers and craftsmen, friends and relations - all painted with a gaiety and freshness of observation that make this trilogy an evocative and sensitive memorial to Victorian rural England.With a new introduction by Richard Mabey

    Beautiful divorcee Tory is painfully involved with her neighbour, Robert, while his wife Beth, Tory's best friend, is consumed by the worlds she creates in her novels, oblivious to the relationship developing next door. Their daughter Prudence is aware, however, and is appalled by the treachery she observes. Mrs Bracey, an invalid whose grasp on life is slipping, forever peers from her window, constantly prodding her daughters for news of the outside world. And Lily Wilson, a lonely young widow, is frightened of her own home. Into their lives steps Bertram, a retired naval officer with the unfortunate capacity to inflict lasting damage while trying to do good.

    John Galsworthy, a Nobel Prize-winning author, chronicles the ebbing social power of the commercial upper-middle-class Forsyte family through three generations, beginning in Victorian London during the 1880s and ending in the early 1920s.

    Growing up in a typically Victorian household, the Pargiter children must learn to find their footing in an alternative world, where the rules of etiquette have shifted from the drawing-room to the air-raid shelter. A work of fluid and dazzling lucidity, The Years eschews a simple line of development in favour of a varied and constantly changing style, emphasises the radical discontinuity of personal experiences and historical events. Virginia Woolf's penultimate novel celebrates the resilience of the individual self and, in her dazzlingly fluid and distinctive voice, she confidently paints a broad canvas across time, generation and class.

    For that is what it is: the story of a young English girl's growth towards maturity in the 1930s. We see Mary at school in Kensington and on holiday in Somerset; her attempt at drama school; her year in Paris learning dressmaking and getting engaged to the wrong man; her time as a secretary and companion; and her romance with Sam. We chose this book because we wanted to publish a novel like Dusty Answer, I Capture the Castle or The Pursuit of Love, about a girl encountering life and love, which is also funny, readable and perceptive; it is a 'hot-water bottle' novel, one to curl up with on the sofa on a wet Sunday afternoon. But it is more than this. As Harriet Lane remarks in her Preface: 'It is Mariana's artlessness, its enthusiasm, its attention to tiny, telling domestic detail that makes it so appealing to modern readers.' And John Sandoe Books in Sloane Square (an early champion of Persephone Books) commented: 'The contemporary detail is superb - Monica Dickens's descriptions of food and clothes are particularly good - and the characters are observed with vitality and humour. Mariana is written with such verve and exuberance that we would defy any but academics and professional cynics not to enjoy it.'

    This charming, delightful and extremely funny book about daily life in a frugal English household was named by booksellers as the out-of-print novel most deserving of republication.This is a gently self-effacing, dry-witted tale of a long-suffering and disaster-prone Devon lady of the 1930s. A story of provincial social pretensions and the daily inanities of domestic life to rival George Grossmith's Diary of a Nobody.

    Her protagonist is Constanza, a beautiful Italian-American pagan born to privilege and happiness-a seeming favourite of the gods. But in the years of her maturity she becomes aware of what she lacks-a purpose and a part. Who am I, she asks, and what is it I can do? This, writes Bedford, is not a poor little rich girl's plaint. It is the quest that lurks within every human creature fortunate to lift its head above the daily grind.Bedford's genius is for writing about people. [Her] excellence is immortal, her career one of great distinction in literature.-Peter Levi.