Treason is afoot in the highest social circles. The very security of the nation is in peril. Jeeves, it transpires, has long been an agent of British Intelligence, but now His Majesty's Government must turn to the one man who can help . . . Bertie Wooster.In this magnificent new homage to P. G. Wodehouse, Ben Schott leads Jeeves and Wooster on an uproarious adventure of espionage through the secret corridors of Whitehall, the sunlit lawns of Brinkley Court, and the private clubs of St James's.We encounter an unforgettable cast of characters – old and new – including outraged chefs and exasperated aunts, disreputable politicians and gambling bankers, slushy debs and Cockney cabbies, sphinx-like tailors, and sylph-like spies.There is treachery to be foiled, naturally, but also horses to be backed, auctions to be fixed, engagements to be escaped, madmen to be blackballed, and a new variety of condiment to be cooked up.'Jeeves & the King of Clubs' is essential reading for aficionados of The Master, and a perfect introduction to the joys of Jeeves and Wooster for those who have never before dipped their toe.'Impossible to read without grinning idiotically.' - Mark Sanderson, Evening StandardBibliographical note: Although the cover reads 'Jeeves and the King of Clubs' , the half-title and tile page read 'Jeeves & the King of Clubs' and this is how it is catalogued above. In addition the title page does state, separate from the actual title, 'An homage to P.G. Wodehouse authorised by the Wodehouse Estate' and adds, 'With Authorial Endnotes'.

    Full of wit and disdain, he records the mounting tensions on the ancient, stinking warship where officers, sailors, soldiers and emigrants jostle in the cramped spaces below decks. Then a single passenger, the obsequious Reverend Colley, attracts the animosity of the sailors, and in the seclusion of the fo'castle something happens to bring him into a 'hell of degradation', where shame is a force deadlier than the sea itself.

    Harding, a clergyman of great personal integrity who is nevertheless in possession of an income from a charity far in excess of the sum devoted to the purposes of the foundation. On discovering this, young John Bold turns his reforming zeal to exposing what he regards as an abuse of privilege, despite the fact that he is in love with Mr. Harding's daughter Eleanor. It was a highly topical novel (a case regarding the misapplication of church funds was the scandalous subject of contemporary debate), but like other great Victorian novelists, Trollope uses the specific case to explore and illuminate the universal complexities of human motivation and social morality

    For Lucy Ashton and Edgar Ravenswood, acts of heroism are thwarted and love is doomed by social, political and historical division. This edition restores the action to the years of uncertainty and political flux before the Union of Scotland and England in 1707, rather than after, as Scott's later revision had placed it.

    But what makes The Pillars of the Earth extraordinary is the time the twelfth century; the place feudal England; and the subject the building of a glorious cathedral. Follett has re-created the crude, flamboyant England of the Middle Ages in every detail. The vast forests, the walled towns, the castles, and the monasteries become a familiar landscape. Against this richly imagined and intricately interwoven backdrop, filled with the ravages of war and the rhythms of daily life, the master storyteller draws the reader irresistibly into the intertwined lives of his characters into their dreams, their labors, and their loves: Tom, the master builder; Aliena, the ravishingly beautiful noblewoman; Philip, the prior of Kingsbridge; Jack, the artist in stone; and Ellen, the woman of the forest who casts a terrifying curse. From humble stonemason to imperious monarch, each character is brought vividly to life.The building of the cathedral, with the almost eerie artistry of the unschooled stonemasons, is the center of the drama. Around the site of the construction, Follett weaves a story of betrayal, revenge, and love, which begins with the public hanging of an innocent man and ends with the humiliation of a king.For the TV tie-in edition with the same ISBN go to this Alternate Cover Edition

    The setting is a small village in southwestern Anatolia in the waning years of the Ottoman Empire. Everyone there speaks Turkish, though they write it in Greek letters. It’s a place that has room for a professional blasphemer; where a brokenhearted aga finds solace in the arms of a Circassian courtesan who isn’t Circassian at all; where a beautiful Christian girl named Philothei is engaged to a Muslim boy named Ibrahim. But all of this will change when Turkey enters the modern world. Epic in sweep, intoxicating in its sensual detail, Birds Without Wings is an enchantment.

    Not all of them return – and those who do will never be the same. Among them is the daredevil Laurids Madsen, who promptly escapes again into the anonymity of the high seas.As soon as he is old enough, his son Albert sets off in search of his missing father on a voyage that will take him to the furthest reaches of the globe and into the clutches of the most nefarious company. Bearing a mysterious shrunken head, and plagued by premonitions of bloodshed, he returns to a town increasingly run by women – among them a widow intent on liberating all men from the tyranny of the sea.From the barren rocks of Newfoundland to the lush plantations of Samoa, from the roughest bars in Tasmania, to the frozen coasts of northern Russia, We, The Drowned spans four generations, two world wars and a hundred years. Carsten Jensen conjures a wise, humorous, thrilling story of fathers and sons, of the women they love and leave behind, and of the sea’s murderous promise. This is a novel destined to take its place among the greatest seafaring literature.

    Upon discovering the rumors to be true, the young widow ends up forming a special companionship with the ghost of handsome former sea captain Daniel Gregg. Through the struggles of supporting her children, seeking out romance from the wrong places, and working to publish the captain's story as a book, Blood and Swash, Lucy finds in her secret relationship with Captain Gregg a comfort and blossoming love she never could have predicted. Originally published in 1945, made into a movie in 1947, and later adapted into a television sitcom in 1968, this romantic tale explores how love can develop without boundaries, both in this life and beyond.

    He certainly has no love for Alfred, whom he considers a pious weakling and no match for Viking savagery, yet when Alfred unexpectedly defeats the Danes and the Danes themselves turn on Uhtred, he is finally forced to choose sides. By now he is a young man, in love, trained to fight and ready to take his place in the dreaded shield wall. Above all, though, he wishes to recover his father’s land, the enchanting fort of Bebbanburg by the wild northern sea.This thrilling adventure—based on existing records of Bernard Cornwell’s ancestors—depicts a time when law and order were ripped violently apart by a pagan assault on Christian England, an assault that came very close to destroying England.

    Each of them is handed a tantalizing clue to her true heritage—a clue which takes Maia across the world to a crumbling mansion in Rio de Janeiro, Brazil. Once there, she begins to put together the pieces of her story and its beginnings.Eighty years earlier in Rio’s Belle Epoque of the 1920s, Izabela Bonifacio’s father has aspirations for his daughter to marry into the aristocracy. Meanwhile, architect Heitor da Silva Costa is devising plans for an enormous statue, to be called Christ the Redeemer, and will soon travel to Paris to find the right sculptor to complete his vision. Izabela—passionate and longing to see the world—convinces her father to allow her to accompany him and his family to Europe before she is married. There, at Paul Landowski’s studio and in the heady, vibrant cafes of Montparnasse, she meets ambitious young sculptor Laurent Brouilly, and knows at once that her life will never be the same again.In this sweeping, epic tale of love and loss—the first in a unique, spellbinding series of seven novels—Lucinda Riley showcases her storytelling talent like never before.

    Also included are a discussion of Stoker's working notes for the novel and "Dracula's Guest," the original opening chapter to Dracula. Reviews and Reactions reprints five early reviews of the novel. "Dramatic and Film Variations" focuses on theater and film adaptations of Dracula, two indications of the novel's unwavering appeal. David J. Skal, Gregory A. Waller, and Nina Auerbach offer their varied perspectives. Checklists of both dramatic and film adaptations are included.Criticism collects seven theoretical interpretations of Dracula by Phyllis A. Roth, Carol A. Senf, Franco Moretti, Christopher Craft, Bram Dijkstra, Stephen D. Arata, and Talia Schaffer.A Chronology and a Selected Bibliography are included.

    In the midst of it all is the Giant, O'Brien, a freak of nature, a man of song and story who trusts in myths, fairies, miracles, and little people. He has come from Ireland to exhibit his size for money. O'Brien's opposite is a man of science, the famed anatomist John Hunter, who lusts after the Giant's corpse as a medical curiosity, a boon to the advancement of scientific knowledge.In her acclaimed novel, two-time Man Booker Prize winning author Hilary Mantel tells of the fated convergence of Ireland and England. As belief wrestles knowledge and science wrestles song, so The Giant, O'Brien calls to us from a fork in the road as a tale of time, and a timeless tale.

    On the way their ship is set upon by pirates, and the children are accidentally transferred to the pirate vessel. Jonsen, the well-meaning pirate captain, doesn't know how to dispose of his new cargo, while the children adjust with surprising ease to their new life. As this strange company drifts around the Caribbean, events turn more frightening and the pirates find themselves increasingly incriminated by the children's fates. The most shocking betrayal, however, will take place only after the return to civilization.The swift, almost hallucinatory action of Hughes's novel, together with its provocative insight into the psychology of children, made it a best seller when it was first published in 1929 and has since established it as a classic of twentieth-century literature - an unequaled exploration of the nature, and limits, of innocence.

    She has created a world so thoroughly enchanting that eight hundred pages leave readers longing for more.English magicians were once the wonder of the known world, with fairy servants at their beck and call; they could command winds, mountains, and woods. But by the early 1800s they have long since lost the ability to perform magic. They can only write long, dull papers about it, while fairy servants are nothing but a fading memory.But at Hurtfew Abbey in Yorkshire, the rich, reclusive Mr Norrell has assembled a wonderful library of lost and forgotten books from England's magical past and regained some of the powers of England's magicians. He goes to London and raises a beautiful young woman from the dead. Soon he is lending his help to the government in the war against Napoleon Bonaparte, creating ghostly fleets of rain-ships to confuse and alarm the French.All goes well until a rival magician appears. Jonathan Strange is handsome, charming, and talkative-the very opposite of Mr Norrell. Strange thinks nothing of enduring the rigors of campaigning with Wellington's army and doing magic on battlefields. Astonished to find another practicing magician, Mr Norrell accepts Strange as a pupil. But it soon becomes clear that their ideas of what English magic ought to be are very different. For Mr Norrell, their power is something to be cautiously controlled, while Jonathan Strange will always be attracted to the wildest, most perilous forms of magic. He becomes fascinated by the ancient, shadowy figure of the Raven King, a child taken by fairies who became king of both England and Faerie, and the most legendary magician of all. Eventually Strange's heedless pursuit of long-forgotten magic threatens to destroy not only his partnership with Norrell, but everything that he holds dear.

    It is a fiction about fiction-writing in which the invented world is as much infused with wit and genius as the theme of inventing it. It is a joyful celebration of the infinite possibilities of the art of fiction, and a wry demonstration of its limitations. This Penguin Classic contains Christopher Ricks's introductory essay, itself a classic of English literary criticism, together with a new introduction on the recent critical history and influence of Tristram Shandy by Melvyn New. The text and notes are based on the acclaimed Florida Edition, making the scholarship of the Florida editors readily available for the first time.