Barbecue-Smith, who writes 1,500 publishable words an hour by "getting in touch" with his "subconscious," to Henry Wimbush, who is obsessed with writing the definitive "History of Crome." Denis's stay proves to be a disaster amid his weak attempts to attract the girl of his dreams and the ridicule he endures regarding his plan to write a novel about love and art. Lambasting the post-Victorian standards of morality, Crome Yellow is a witty masterpiece that, in F. Scott Fitzgerald's words, "is too ironic to be called satire and too scornful to be called irony."

    H. Lawrence's death in 1930. Immediately recognized as a masterpiece in which Lawrence had distilled and purified his ideas about sexuality and morality, The Virgin and the Gipsy has become a classic and is one of Lawrence's most electrifying short novels.Set in a small village in the English countryside, this is the story of a secluded, sensitive rector's daughter who yearns for meaning beyond the life to which she seems doomed. When she meets a handsome young gipsy whose life appears different from hers in every way, she is immediately smitten and yet still paralyzed by her own fear and social convention. Not until a natural catastrophe suddenly, miraculously sweeps away the world as she knew it does a new world of passion open for her. Lawrence's spirit is infused by all his tenderness, passion, and knowledge of the human soul.

    The protagonist, Leonard Marnham, is a 25-year-old, naive, unsophisticated English post office technician who is astonished and alarmed to find himself involved in a top-secret operation. At the same time that he loses his political innocence, Leonard experiences his sexual initiation in a clandestine affair with a German divorcee five years his senior. As his two secret worlds come together, events develop into a gruesome nightmare, building to a searing, unforgettable scene of surrealist intensity in which Leonard and his lover try to conceal evidence of a murder. Acting to save himself from a prison sentence, Leonard desperately performs an act of espionage whose ironic consequences resonate down the years to a twister of an ending. Though its plot rivals any thriller in narrative tension, this novel is also a character study--of a young man coming of age in bizarre circumstances, and of differences in national character: the gentlemanly Brits, all decorum and civility; the brash, impatient Americans; the cynical Germans. McEwan's neat, tensile prose raises this book to the highest level of the genre.

    Somerset Maugham portrays a wealthy young English woman who finds herself confronted rather brutally by the repercussions of whimsy.On the day her older and prosperous friend asks her to marry him, Mary Leonard demurs and decides to postpone her reply a few days. But driving into the hills above Florence alone that evening, Mary offers a ride to a handsome stranger. And suddenly, her life is utterly, irrevocably altered.For this stranger is a refugee of war, and he harbors more than one form of passion. Before morning, Mary will witness bloodshed, she will be forced to seek advice and assistance from an unsavory man, and she will have to face the truth about her own yearnings. Erotic, haunting, and maddeningly suspenseful, Up at the Villa is a masterful tale of temptation, and the capricious nature of fate.

    On the brink of twenty, Charles High-way preps desultorily for Oxford, cheerfully loathes his father, and meticulously plots the seduction of a girl named Rachel -- a girl who sorely tests the mettle of his cynicism when he finds himself falling in love with her.

    Within its golden gates, death, American-style, is wrapped up and sold like a package holiday. There, Dennis enters the fragile and bizarre world of Aimée, the naïve Californian corpse beautician, and Mr Joyboy, the master of the embalmer's art...A dark and savage satire on the Anglo-American cultural divide, The Loved One depicts a world where love, reputation, and death cost a very great deal.This is an alternate cover edition: https://www.goodreads.com/book/show/3....

    A tour de force of menace, malicious comedy, and torrential social bile, this book marks the American debut of an extraordinary writer.

    Increasingly enmeshed in the radical's political intrigue, he betrays the anarchist who had placed blind faith in him. The authorities then dispatch Razumov on a mission to spy on the revolutionary's sister and mother.A fascinating character study, Under Western Eyes hauntingly reveals Razumov's preoccupation with questions of decency and accountability when confronted by the equally powerful truths and values of human integrity and moral strength.

    Gordon Comstock has declared war on the money god; and Gordon is losing the war. Nearly 30 and "rather moth-eaten already," a poet whose one small book of verse has fallen "flatter than any pancake," Gordon has given up a "good" job and gone to work in a bookshop at half his former salary. Always broke, but too proud to accept charity, he rarely sees his few friends and cannot get the virginal Rosemary to bed because (or so he believes), "If you have no money ... women won't love you." On the windowsill of Gordon's shabby rooming-house room is a sickly but unkillable aspidistra--a plant he abhors as the banner of the sort of "mingy, lower-middle-class decency" he is fleeing in his downward flight.In Keep the Aspidistra Flying, George Orwell has created a darkly compassionate satire to which anyone who has ever been oppressed by the lack of brass, or by the need to make it, will all too easily relate. He etches the ugly insanity of what Gordon calls "the money-world" in unflinching detail, but the satire has a second edge, too, and Gordon himself is scarcely heroic. In the course of his misadventures, we become grindingly aware that his radical solution to the problem of the money-world is no solution at all--that in his desperate reaction against a monstrous system, he has become something of a monster himself. Orwell keeps both of his edges sharp to the very end--a "happy" ending that poses tough questions about just how happy it really is. That the book itself is not sour, but constantly fresh and frequently funny, is the result of Orwell's steady, unsentimental attention to the telling detail; his dry, quiet humor; his fascination with both the follies and the excellences of his characters; and his courageous refusal to embrace the comforts of any easy answer.

    While around them crime and unrest surge, the Lovatts are certain that their old-fashioned contentment can protect them from the world outside—until the birth of their fifth baby. Gruesomely goblin-like in appearance, insatiably hungry, abnormally strong and violent, Ben has nothing innocent or infant-like about him. As he grows older and more terrifying, Harriet finds she cannot love him, David cannot bring himself to touch him, and their four older children are afraid of him. Understanding that he will never be accepted anywhere, Harriet and David are torn between their instincts as parents and their shocked reaction to this fierce and unlovable child whose existence shatters their belief in a benign world.

    Their resemblance to each other is uncanny, and they spend the next few hours talking and drinking - until at last John falls into a drunken stupor. It's to be his last carefree moment, for when he wakes, Jean has stolen his identity and disappeared. So the Englishman steps into the Frenchman's shoes, and faces a variety of perplexing roles - as owner of a chateau, director of a failing business, head of a fractious family, and master of nothing.Gripping and complex, The Scapegoat is a masterful exploration of doubling and identity, and of the dark side of the self.

    Out of nowhere, a great-aunt leaves her a Georgian mansion in another city--and she sheds her old life without delay. Gone is her dull administrative job, her mousy wardrobe, her downer of a roommate. She will live as a woman of leisure, devoted to beauty, creativity, expression, and love. Once installed in her new quarters, Rachel plants a garden, takes up writing, and impresses everyone she meets with her extraordinary optimism. But as Rachel sings and jokes the days away, her new neighbors begin to wonder if she might be taking her transformation just a bit too far.In Wish Her Safe at Home, Stephen Benatar finds humor and horror in the shifting region between elation and mania. His heroine could be the next-door neighbor of the Beales of Grey Gardens or a sister to Jane Gardam's oddball protagonists, but she has an ebullient charm all her own.

    He is obsessed with a beautiful stranger, the art student Miranda. When he wins the pools he buys a remote Sussex house and calmly abducts Miranda, believing she will grow to love him in time.

    For almost all of those years she has been the clandestine lover to Paul Sheringham, young heir of a neighboring house. The two now meet on an unseasonably warm March day—Mothering Sunday—a day that will change Jane's life forever. As the narrative moves back and forth from 1924 to the end of the century, what we know and understand about Jane—about the way she loves, thinks, feels, sees, remembers—expands with every vividly captured moment. Her story is one of profound self-discovery, and through her, Graham Swift has created an emotionally soaring, deeply affecting work of fiction.

    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.