Idolising her parents, she learns from childhood to equate love with self-sacrifice, so that when she falls in love with the fiance of her closest friend, there is only one way to confront such an unworthy passion. Or so it seems...Ironic, brief and intensely realised, The Life and Death of Harriett Frean (1922) is a brilliant study of female virtue seen as vice, and stands with the work of Virgina Woolf and Dorothy Richardson as one of the great innovative novels of the century.

    This novel of an enclosed world invaded by public events also embodies in its characters the shifts in England's class structures at the beginning of the twentieth century.

    In order to be true to himself, he goes against the grain of society’s often unspoken rules of class, wealth, and politics.Forster understood that his homage to same-sex love, if published when he completed it in 1914, would probably end his career. Thus, Maurice languished in a drawer for fifty-seven years, the author requesting it be published only after his death (along with his stories about homosexuality later collected in The Life to Come).Since its release in 1971, Maurice has been widely read and praised. It has been, and continues to be, adapted for major stage productions, including the 1987 Oscar-nominated film adaptation starring Hugh Grant and James Wilby.

    Several of the stories in 'The Woman Novelist' are about women behaving badly, and many of them are uncomfortable reading.

    Yet the novel is much more. Written in sparse prose that is shockingly clear—the descriptions of electronic treatments are particularly harrowing—it combines real-life characters and events with fictional ones in a work that examines the insanity of war like no other. Barker also weaves in issues of class and politics in this compactly powerful book. Other books in the series include The Eye in the Door and the Booker Award winner The Ghost Road.

    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.

    Stephen grows to be a war hero, a bestselling writer and a loyal, protective lover. But Stephen is a woman, and her lovers are women. As her ambitions drive her, and society confines her, Stephen is forced into desperate actions.The Well of Loneliness was banned for obscenity when published in 1928. It became an international bestseller, and for decades was the single most famous lesbian novel. It has influenced how love between women is understood, for the twentieth century and beyond.

    Among her characters are some of the most remarkable portraits in English literature: Dorothea Brooke, the heroine, idealistic but naive; Rosamond Vincy, beautiful and egoistic: Edward Casaubon, the dry-as-dust scholar: Tertius Lydgate, the brilliant but morally-flawed physician: the passionate artist Will Ladislaw: and Fred Vincey and Mary Garth, childhood sweethearts whose charming courtship is one of the many humorous elements in the novel's rich comic vein.

    But in Aurora Floyd, and in many of the novels written in imitation of it, bigamy is little more than a euphemism, a device to enable the heroine, and vicariously the reader, to enjoy the forbidden sweets of adultery without adulterous intentions.

    It is a place where, despite everything, Janie is happy. But when the Cruelty Man arrives, bringing with him the threat of the dreaded 'home' - the orphanage that is every child's nightmare - Janie's contented childhood seems to be at an end.

    Andre's father, in a desperate effort to save him from the coming holocaust, hands him over to his captivating uncle Rudolf, an internationally famous singer of popular operettas. Rudolf is a sublimely gifted lyric tenor, a dashing leading man who is the object of many women's affections-but also an artist who lives in the shadow of his own unachieved potential as an opera star. Rudolf takes the boy to back to London, renames him Andrew, turns all his attention and sardonic humor upon him, and gradually sculpts him into a gentleman.Vivid, often lighthearted scenes of Andrew's worldly life with Rudolf are intertwined with the unfolding secrets of his forgotten past as Andre, which have shadowed his otherwise happy life. Told in matchless prose, Uncle Rudolf captures in fine detail the mood of 1940s Europe--and reveals the emotions of a man whose achievement falls short of his brilliant promise. It is a wise, knowing, elegant story about the sacrifices we make for those we love.

    Norris and Goodbye to Berlin, which make up The Berlin Stories are recognized today as classics of modern fiction.A charming city of avenues and cafés, a grotesque city of night-people and fantasts, a dangerous city of vice and intrigue, a powerful city of millionaires and mobs - all this was Berlin in 1931, the period when Hitler was beginning his move to power.Here are Mr. Norris, the improbable old debauchee mysteriously caught in the struggle between Nazis and Communists; plump Fräulein Schroeder, who thinks an operation to reduce the scale of her Büste might relieve her heart palpitations; the Landauers, a distinguished and doomed Jewish family; Sally Bowles, whose misadventures in the demimonde were popularized on the American stage and screen by Julie Harris in "I Am a Camera" and by Liza Minelli in "Cabaret."

    Dawson writes very well, with a tender awareness of the ironies of her theme and a poetic perception of how tremulous is the distinction between the mad world and the sane.’ - Glasgow Herald‘A remarkably talented first novel ... Miss Dawson is neither sentimental nor sensational ... Her heroine is a convincing and sympathetic character, and when her mind begins to shift into the nightmare perspective of schizophrenia the writing creates an atmosphere of quiet terror.’ - Observer‘Cool, short, tender and occasionally as prettily ruthless as the impact of a stiletto heel . . . twice as alarming because everything is implied rather than explicit.’ - Tatler‘A cool, clever, well-constructed novel about – smoothly speaking – the nature of reality. . . . Miss Dawson writes very well indeed, with remarkable calmness and detachment . . . [B]rilliant.’ - Penelope Mortimer, Sunday Times‘A little masterpiece.’ - Bookman‘A novel about madness which succeeds completely.’ - Daily Telegraph‘I wanted the knack of existing. I did not know the rules.’ So says Josephine, the heroine of Jennifer Dawson’s remarkable novel, an exploration of a young woman’s mental illness that met with universal critical acclaim and won the James Tait Black Memorial Prize as the best novel of the year. After suffering a breakdown following the death of her mother, Josephine finds herself confined to an institution where patients are ‘treated’ by such means as electroshock therapy and lobotomies. But when she falls in love with Alasdair, a fellow patient she meets on the grassy bank of the ha-ha, she decides that her recovery will be on her own defiant terms. Inspired by the author’s personal experiences, The Ha-Ha (1961) remains a moving and powerful examination of mental illness and the treatment of those who suffer from it. This new edition includes an afterword by the author and an introduction by John Sutherland.

    It tells the story of Charles Ryder's infatuation with the Marchmains and the rapidly-disappearing world of privilege they inhabit. Enchanted first by Sebastian at Oxford, then by his doomed Catholic family, in particular his remote sister, Julia, Charles comes finally to recognize only his spiritual and social distance from them.

    Running through it is the theme of evil, deftly woven into a story as memorable for its action as for its astonishingly vivid set of characters. In fin de siecle Paris, Arthur and Margaret are engaged to be married. Everyone approves and everyone seems to be enjoying themselves—until the menacing and repulsive Oliver Haddo appears.