Morvern's reaction is both intriguing and immoral. What she does next is even more appalling. Moving across a blurred European landscape-from rural poverty and drunken mayhem of the port to the Mediterranean rave scene-we experience everything from Morvern's stark, unflinching perspective.Morvern is utterly hypnotizing from her very first sentence to her last. She rarely goes anywhere without the Walkman left behind as a Christmas present by her dead boyfriend, and as she narrates this strange story, she takes care to tell the reader exactly what music she is listening to, giving the stunning effect of a sound track running behind her voice.In much the same way that Patrick McCabe managed to tell an incredibly rich and haunting story through the eyes of an emotionally disturbed boy in The Butcher Boy, Alan Warner probes the vast internal emptiness of a generation by using the cool, haunting voice of a female narrator lost in the profound anomie of the ecstasy generation. Morvern is a brilliant creation, not so much memorable as utterly unforgettable."

    It tells the story of Billy Fisher, a Yorkshire teenager unable to stop lying - especially to his three girlfriends. Trapped by his boring job and working-class parents, Billy finds that his only happiness lies in grand plans for his future and fantastical day-dreams of the fictional country Ambrosia.

    But as he digs deeper into Falkland's past and finally unearths the guilty truth, the results of his curiosity prove calamitous when - even though Caleb has loyally sworn never to disclose what he has discovered - the Squire enacts a cruel revenge. A tale of gripping suspense and psychological power, William Godwin's novel creates a searing depiction of the intolerable persecution meted out to a good man in pursuit of justice and equality. Written to expose the political oppression and corrupt hierarchies its author saw in the world around him, Caleb Williams (1794) makes a radical call to end the tyrannical misuses of power.

    This Penguin Classics edition includes an introduction and notes by Paul Goring.When Yorick, the roving narrator of Sterne's innovative final novel, sets off for France on a whim, he produces no ordinary travelogue. Jolting along in his coach from Calais, through Paris, and on towards the Italian border, the amiable parson is blithely unconcerned by famous views or monuments, but he engages us with tales of his encounters with all manner of people, from counts and noblewomen to beggars and chambermaids. And as drama piles upon drama, anecdote, flirtation and digression, Yorick's destination takes second place to an exhilarating voyage of emotional and erotic exploration. Interweaving sharp wit with warm humour and irony with genuine feeling, A Sentimental Journey paints a captivating picture of an Englishman's adventures abroad.In his introduction, Paul Goring discusses Sterne's literary career and his semi-autobiographical depiction of Yorick, and sets the novel within the context of eighteenth-century travel writing and the vogue of sentimental fiction. This edition also includes a chronology, updated further reading and notes.Laurence Sterne (1713-1768) graduated from Cambridge in 1737 and took holy orders, becoming a prebend in York Cathedral. His masterpiece, The Life and Opinions of Tristram Shandy, Gentleman made him a celebrity but ill-health necessitated recuperative travel and A Sentimental Journey grew out of a seven-month trip through France and Italy. He died the year it was published, 1768.If you enjoyed A Sentimental Journey, you might like Sterne's The Life and Opinions of Tristram Shandy, Gentleman, also available in Penguin Classics.

    In this gripping novel, based on a true story, he reveals the extraordinary lives of the Russian, Polish and Jewish partisans trapped behind enemy lines during the Second World War. Wracked by fear, hunger and fierce rivalries, they link up, fall apart, struggle to stay alive, and to sabotage the efforts of the all-powerful German army. A compelling tale of action, resistance and epic adventure, it also reveals Levi's characteristic compassion and deep insight into the moral dilemmas of total war. It ranks alongside THE PERIOD TABLE and IF THIS IS A MAN as one of the rare authentic masterpieces of the 20th century.

    reveals one of the most horrifying aspects of any war: the rape and torture of civilian women by occupying forces. S. is the story of a Bosnian woman in exile who has just given birth to an unwanted child—one without a country, a name, a father, or a language. Its birth only reminds her of an even more grueling experience: being repeatedly raped by Serbian soldiers in the "women's room" of a prison camp. Through a series of flashbacks, S. relives the unspeakable crimes she has endured, and in telling her story—timely, strangely compelling, and ultimately about survival—depicts the darkest side of human nature during wartime. "S. may very well be one of the strongest books about war you will ever read. . . .The writing is taut, precise, and masterful."

    Owen's spirited attacks on the greed and dishonesty of the capitalist system rouse his fellow men from their political quietism. The Ragged Trousered Philanthropists is both a masterpiece of wit and political passion and one of the most authentic novels of English working class life ever written

    If Helping Verbs of the Heart was an homage to his mother, then this is a memorial to his father. It is actually two works in one. Book 1, "Numbered Sentences from the Life of the Esterházy Family", comprises 371 paragraphs, some elusively succinct, others pages long, that amount to a gloriously kaleidoscopic romp through the centuries that lie behind this European dynasty. Not that the name Esterházy is ever uttered: the main protagonist of each episode is invariably identified as "my father", whether he is an anti-Habsburg Kuruc insurrectionist or a Habsburg-loyal Labanc, a hammer of the Ottomans, a dying old man, a prisoner of war, a lord charming enough to enchant Goethe himself, or a childless man, to mention but a few of "my fathers", all evoked through the language and literature proper to each persona. This strategy of anonymity allows Esterházy to extend his typically vast net of quotations to sources that originally have no family connotations whatsoever, thereby lending broader significance to the particulars of this one family, however grand, and, vice versa, appropriating the general (European) experience to the family's specific circumstances. The baroquely exuberant proliferation of anecdotal gleanings and fragments of real and fictional history, drawing on a gamut of written genres, from maxims to parables, from confessional autobiography to the account books and chronicles, is ultimately threaded together by an unobtrusive, profoundly witty and wise philosophical vein.Book 2, subtitled "Confessions of an Esterházy family", is ostensibly a more conventional family novel. Its very subtitle alludes to an earlier Hungarian masterpiece of the genre, Confessions of a Bourgeois, 1934-35 by Sándor Márai. It consists of a series of snapshots of key events in the lives of the author's great-grandfather, grandfather, father and the young Esterházy himself. These are built up, over two hundred numbered passages, into a more or less chronological portrait of a century-and-a-half of steady decline of the family's fortunes. After 1945 the Esterházys suffered an almost catastrophic repeat of the confiscations and curtailment of liberties that befell them during the short-lived Commune of 1919 one that not only stripped them of their former rank and privileges but threatened their very subsistence. Largely anecdotal and often absurd in tone, much of this is recounted with great gusto from the author's personal perspective, not least the stories of his own childhood, such as being accidentally dropped into the baptismal font; the trek to a godforsaken village in July 1950 when an official deportation order resulted in the family being dumped in one of two rooms in a peasant couple's house; schooldays and trips to matches with his football-mad father. For all the vicissitudes and uncertainties it describes, the tone of his writing throughout is one of blithely upbeat humour and harmony, without a hint of reproach, regret or complaint."A captivatingly rich novel in terms of both its form and its stance. Certainly it is the most striking work of the fifty-year-old author's career to date, and I would evenventure to call it an epitome of the Esterházy oeuvre. Given its formal richness, however, it is in a way also a compendium of two to three centuries of Hungarianprose." -Péter Dérczy, Élet és Irodalom"This new novel is no less constructed of fragments than his earlier novels, and those are no less whole, but this has the widest span of any Esterházy composition to date: it is a sweeping, baroque work." -József Tamás Reményi, Népszabadság

    Conrad's deeply moral consciousness and masterful narrative technique are at their best in this, one of his finest works.

    He is horrified, confused and bored by the contrived "broadcasts" of the "apes", a series of pseudo artists who resemble, on the one hand, absurd mechanical dolls, and on the other, specific personages of the era.

    Fanny Burney's unusual love story and deft social satire was much admired on its first publication in 1782 for its subtle interweaving of comedy, humanity, and social analysis. Controversial in its time, this eighteenth-century novel seems entirely fresh in relation to late twentieth-century concerns.

    If a novelist's first duty is to tell the truth, then the author has done his duty with unflinching courage. Intimacy gives us the thoughts and memories of a middle-aged writer on the night before he walks out on his wife and two young sons for of a younger woman. A very modern man, without political convictions or religious beliefs, he vaguely hopes to find fulfillment in sexual love. No one is spared Kureishi's cold, penetrating gaze or lacerating pen. "She thinks she's feminist, but she's just bad-tempered," the unnamed narrator says of his abandoned wife. A male friend advises him, "Marriage is a battle, a terrible journey, a season in hell, and a reason for living." At the heart of Intimacy is this terrible paradox: "You don't stop loving someone just because you hate them." Male readers will wince with recognition at the narrator's hatred of entrapment and domesticity, and his implacable urge towards freedom, escape, even loneliness. Female readers may find it a truly horrific revelation. Kureishi is only telling it like it is, in staccato sentences of pinpoint accuracy. By far the author's best yet: a brilliant, devastating work. --Christopher Hart, Amazon.co.uk

    At a remote English public school in Devon the debilitated veteran, himself barely out of his teens, decides temporarily to try his hand at teaching while striving to awaken from the nightmare of World War I -- the national catastrophe that sweeps England out of the comfortable certainties of the Victorian Age into the moral perplexities and harsh economic realities of more modern times.

    With Great Apes, Self takes readers into a sort of "Planet of the Apes" with a twist. Simon Dykes is a London painter whose life suddenly becomes Kafkaesque. After an evening of routine debauchery, traipsing from toilet to toilet and partaking in a host of narcotics, the middle-aged painter wakes to discover that his girlfriend, Sarah, has turned into a chimpanzee. Simon is also a chimp, but he does not accept this fact—he is convinced that he is still human.He is then confined to an emergency psychiatric ward and placed under the care of alpha-psychiatrist Dr. Zack Busner. Simon finds chimp behavior a bit unnatural; he can't bring himself to use gestures rather than speech to communicate. He also finds it difficult to mate publicly or accept social grooming. Dr. Zack Busner—also a medical doctor, radical psychoanalyst, maverick axiolytic drug researcher, and former television personality—is prepared to help Simon get used to "chimpunity". It is during Simon's gradual simianization that Self's true satirical genius shines, as he examines anthropology, the trendy art world, animal rights, and much more.

    He is back from the war, homeless and without family. Behind him lie the mud, barbed-wire entanglements and terror of the trenches. Behind him is also the most intense relationship of his life.Daniel has survived, but the horror and passion of the past seem more real than the quiet fields around him. He is about to step into the unknown. But will he ever be able to escape the terrible, unforeseen consequences of a lie?