Inspired by Shakespeare's magic play The Tempest, prizewinning writer Marina Warner refashions the drama to explore the restless conflicts between the inhabitants of a Caribbean island and the English family who settled it. From that violent moment in the seventeenth century when the English buccaneer Kit Everard arrives at Enfant-Beate, the islanders' fate is intertwined, often tragically, with that of the Everards. The voices that map the fortunes of those born, raised, or landed on the island pass from the wise woman Sycorax in the past, a healer and a dyer of indigo, to the native nanny Serafine Killebree, who transforms them to fairy tales for the two little Everard girls in London in the 1950s. At the center of the modern-day story is the relationship between these two young women: Xanthe, the golden girl, brash and confident, and Miranda, self-conscious and uneasy, who struggles with her Creole inheritance. When Xanthe decides they should return to Enfant-Beate to restore their fortunes, she binds the family closer to its past and awakens a history marked with passions and portents that takes the two women on very different paths of discovery. Sensuous and earthy, humorous and magical, Indigo is a novel of powerful originality and imagination.

    Of the fragile love between the assured Englishman, Anthony, and the bright but sheltered young Bengali woman, Moni, Gupta weaves a provocative and utterly empathetic tale of awakening and hard discovery, steeped in cultural protocol and taboo, in Jane Austen and the verse of Tagore.

    One day, when tidying Lady Dant's wardrobe, she comes across the most beautiful thing she has ever seen in her life - a Dior dress. In all the years of her drab and humble existence, she's never seen anything as magical as the dress before her and she's never wanted anything as much before. Determined to make her dream come true, Mrs Harris scrimps, saves and slaves away until one day, after three long, uncomplaining years, she finally has enough money to go to Paris. When she arrives at the House of Dior, Mrs Harris has little idea of how her life is about to be turned upside down and how many other lives she will transform forever. Always kind, always cheery and always winsome, the indomitable Mrs Harris takes Paris by storm and learns one of life's greatest lessons along the way. This treasure from the 1950s introduces the irrepressible Mrs Harris, part charlady, part fairy-godmother, whose adventures take her from her humble London roots to the heights of glamour.

    In On the Edge of Reason, his protagonist is a middle-aged lawyer whose life and career have been eminently respectable and respected. One evening, at a party attended by the local elite, he inadvertently blurts out an honest thought. From this moment, all hell breaks loose.... On the Edge of Reason reveals the fundamental chasm between conformity and individuality. As folly piles on folly, hypocrisy on hypocrisy, reason itself begins to give way, and the edge between reality and unreality disappears.--back cover

    However much the reader may sympathize with Hetty Sorrel and identify with Arthur Donnithorne, her seducer, and with Adam Bede, the man Hetty betrays,it is George Eliots's creation of the distant aesthetic whole - the complex, multifarious life of Hayslope - which so grips the reader's imagination. As Stephen Gill comments: 'Reading the novel is a process of learning simultaneously about the world of Adam Bede and the world of Adam Bede.'

    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.

    One is the shy Caroline Helstone, who is trapped in the oppressive atmosphere of a Yorkshire rectory and whose bare life symbolizes the plight of single women in the nineteenth century. The other is the vivacious Shirley Keeldar, who inherits a local estate and whose wealth liberates her from convention.A work that combines social commentary with the more private preoccupations of Jane Eyre, Shirley demonstrates the full range of Brontë's literary talent. "Shirley is a revolutionary novel," wrote Brontë biographer Lyndall Gordon. "Shirley follows Jane Eyre as a new exemplar but so much a forerunner of the feminist of the later twentieth century that it is hard to believe in her actual existence in 1811-12. She is a theoretic possibility: what a woman might be if she combined independence and means of her own with intellect. Charlotte Brontë imagined a new form of power, equal to that of men, in a confident young woman [whose] extraordinary freedom has accustomed her to think for herself....Shirley [is] Brontë's most feminist novel."

    Savitribai Indorekar, born into an orthodox Hindu family, elopes with her Muslim lover and accompanist, Ghulaam Saab, to pursue a career in music. Gentle, strong-willed Leela, on the other hand, gives her life to the Party, and to working with the factory workers of Bombay.Fifty years after these events have been set in motion, Madhu, Leela's niece, travels to Bhavanipur, Savitribai's home in her last years, to write a biography of Bai. Caught in her own despair over the loss of her only son, Aditya, Madhu tries to make sense of the lives of Bai and those around her, and in doing so, seeks to find a way out of her own grief.

    As part of a schedule of unorthodox therapies, Horner's nameless Doctor has him take a teaching job at a local teachers college. There Horner befriends the super-rational existentialist Joe Morgan and his wife Rennie, with whom he becomes entangled in a love triangle, with tragic results. The book deals with several issues that were controversial at the time, including racial segregation and abortion. (from wikipedia)

    The journey is triggered by a mysterious package left to Leo by his father, to be opened on his 25th birthday; the package contains an ancient shard of pottery and several documents, suggesting an ancient mystery about the Vincey family. Holly and Leo eventually arrive in eastern Africa where they encounter a primitive race of natives and a mysterious white queen, Ayesha, who reigns as the all-powerful "She" or "She-who-must-be-obeyed" and who has a mysterious connection to young Leo. The story expresses numerous racial and evolutionary conceptions of the late Victorians, especially notions of degeneration and racial decline prominent during the fin de siècle. In the figure of She, the novel notably explored themes of female authority and feminine behaviour. It has received praise and criticism alike for its representation of womanhood. (From Wikipedia)

    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

    The German Occupation, the Civil War and life itself seen through the eyes of two Athenian women.

    had pencilled across the title page of this autobiographical novel. Although the manuscript survived, it has remained unpublished since its completion in the 1920s. Regarded by many as one of the major poets of the modernist period, H.D. created in Asphodel a remarkable and readable experimental prose text, which in its manipulation of technique and voice can stand with the works of Joyce, Woolf, and Stein; in its frank exploration of lesbian desire, pregnancy and motherhood, artistic independence for women, and female experience during wartime, H.D.'s novel stands alone.A sequel to the author's HERmione, Asphodel takes the reader into the bohemian drawing rooms of pre-World War I London and Paris, a milieu populated by such thinly disguised versions of Ezra Pound, Richard Aldington, May Sinclair, Brigit Patmore, and Margaret Cravens; on the other side of what H.D. calls "the chasm," the novel documents the war's devastating effect on the men and women who considered themselves guardians of beauty. Against this riven backdrop, Asphodel plays out the story of Hermione Gart, a young American newly arrived in Europe and testing for the first time the limits of her sexual and artistic identities. Following Hermione through the frustrations of a literary world dominated by men, the failures of an attempted lesbian relationship and a marriage riddled with infidelity, the birth of an illegitimate child, and, finally, happiness with a female companion, Asphodel describes with moving lyricism and striking candor the emergence of a young and gifted woman from her self-exile.Editor Robert Spoo's introduction carefully places Asphodel in the context of H.D.'s life and work. In an appendix featuring capsule biographies of the real figures behind the novel's fictional characters, Spoo provides keys to this roman à clef.

    The Tolm family, for example, abandons the most difficult problem to the enormously bloated police apparatus, depending on whether the individuals are more likely to belong to the suspects or the vulnerable or even to both categories. This increases compulsively, as the signs pile up, threatening a new stop. But Fritz Tolm achieves a new clarity.

    But in this city redolent of timeworn customs, where pilgrims bathe in the sacred Ganges and breathe in smoke from burning ghats along the shore, Samar is offered entirely different perspectives on his country. Miss West and her circle, indifferent to the reality around them, represent those drawn to India as a respite from the material world. And Rajesh, a sometimes violent, sometimes mystical leader of student malcontents, presents a more jaundiced view. More than merely illustrating the clash of cultures, Mishra presents the universal truth that our desire for the other is our most painful joy.