When Charles Dickens died in 1870, The Times of London successfully campaigned for his burial in Westminster Abbey, the final resting place of England's kings and heroes. Thousands flocked to mourn the best recognized and loved man of nineteenth-century England. His books had made them laugh, shown them the squalor and greed of English life, and also the power of personal virtue and the strength of ordinary people. In his last years Dickens drew adoring crowds to his public appearances, had met presidents and princes, and had amassed a fortune.Like a hero from his novels, Dickens trod a hard path to greatness. Born into a modest middle-class family, his young life was overturned when his profligate father was sent to debtors' prison and Dickens was forced into harsh and humiliating factory work. Yet through these early setbacks he developed his remarkable eye for all that was absurd, tragic, and redemptive in London life. He set out to succeed, and with extraordinary speed and energy made himself into the greatest English novelist of the century.Years later Dickens's daughter wrote to the author George Bernard Shaw, "If you could make the public understand that my father was not a joyous, jocose gentleman walking about the world with a plum pudding and a bowl of punch, you would greatly oblige me." Seen as the public champion of household harmony, Dickens tore his own life apart, betraying, deceiving, and breaking with friends and family while he pursued an obsessive love affair.Charles Dickens: A Life gives full measure to Dickens's heroic stature-his huge virtues both as a writer and as a human being- while observing his failings in both respects with an unblinking eye. Renowned literary biographer Claire Tomalin crafts a story worthy of Dickens's own pen, a comedy that turns to tragedy as the very qualities that made him great-his indomitable energy, boldness, imagination, and showmanship-finally destroyed him. The man who emerges is one of extraordinary contradictions, whose vices and virtues were intertwined as surely as his life and his art.

    It is a fascinating diary... It is shorter than Barbara Castle's... and although it is rather more accurate than Dick Crossman's, itis distinctly funnier' - Lord Allen of Abbeydale (formerlyPermanent Secretary at the Home Office) in The Times'It has an entertainment and educational value which isunique. It is uproariously funny and passes the acid test ofbecoming more amusing at every subsequent reading... I willgo so far as to claim that in the characters of Jim Hacker andSir Humphrey Appleby, Messrs Lynn and Jay have createdsomething as immortal as P.G. Wodehouse's Bertie Woosterand Jeeves' - Brian Walden in The Standard

    His manifesto included public control of finance and the dismantling of the newspaper monopolies. As MI5 conspires with the press barons to bring him down, Harry finds himself caught up in a no-holds-barred battle for survival.

    In this acutely perceived and beautifully written book, the bestselling author of Bad Land turns that voyage–which coincided with the Falklands war of 1982-into an occasion for meditations on his country, his childhood, and the elusive notion of home. Whether he’s chatting with bored tax exiles on the Isle of Man, wrestling down a mainsail during a titanic gale, or crashing a Scottish house party where the kilted guests turn out to be Americans, Raban is alert to the slightest nuance of meaning. One can read Coasting for his precise naturalistic descriptions or his mordant comments on the new England, where the principal industry seems to be the marketing of Englishness. But one always reads it with pleasure.

    As an outrageously funny spoof about the ascent of a 40,000-and-a-half-foot peak, many thought it inspired by the 1953 conquest of Everest. But Bowman had drawn on the flavour and tone of earlier adventures, of Bill Tilman and his 1937 account of the Nandi Devi expedition. The book's central and unforgettable character, Binder, is one of the finest creations in comic literature.

    Our manufacturing base is a shadow of its former self; the Royal Navy has been reduced to a skeleton. In military, diplomatic and economic terms, we no longer matter as we once did. And yet there is still one area in which we can legitimately claim superpower status: our popular culture. It is extraordinary to think that one British writer, J. K. Rowling, has sold more than 400 million books; that Doctor Who is watched in almost every developed country in the world; that James Bond has been the central character in the longest-running film series in history; that The Lord of the Rings is the second best-selling novel ever written (behind only A Tale of Two Cities); that the Beatles are still the best-selling musical group of all time; and that only Shakespeare and the Bible have sold more books than Agatha Christie. To put it simply, no country on earth, relative to its size, has contributed more to the modern imagination.This is a book about the success and the meaning of Britain's modern popular culture, from Bond and the Beatles to heavy metal and Coronation Street, from the Angry Young Men to Harry Potter, from Damien Hirst toThe X Factor.

    It encompasses royal feasts and street food, the skinning of eels and the making of strawberry jelly, mixing tales of culinary stars with those of the invisible hordes cooking in kitchens across the land. Beginning before Roman times, the book journeys through the ingredients, equipment, kitchens, feasts, fads, and famines of the British. It covers the piquancy of Norman cuisine, the influx of undreamed-of spices and new foods from the East and the New World, the Tudor pumpkin pie that journeyed with the founding fathers to become America's national dish, the austerity of rationing during World War II, and the birth of convenience foods and take-away, right up to the age of Nigella Lawson, Heston Blumenthal, and Jamie Oliver. The first trade book to tell the story of British cooking-which is, of course, the history that led up to American colonial cooking as well-Taste shows that kitchens are not only places of steam, oil, and sweat, but of politics, invention, cultural exchange, commerce, conflict, and play.

    In these timeless and witty essays George Orwell explores the English love of reading about a good murder in the papers (and lament the passing of the heyday of the 'perfect' murder involving class, sex and poisoning), as well as unfolding his trenchant views on everything from boys' weeklies and naughty seaside postcards to being arrested in East End.

    The Kingdom of Speech is a captivating, paradigm-shifting argument that speech—not evolution—is responsible for humanity's complex societies and achievements.From Alfred Russel Wallace, the Englishman who beat Darwin to the theory of natural selection but later renounced it, and through the controversial work of modern-day anthropologist Daniel Everett, who defies the current wisdom that language is hard-wired in humans, Wolfe examines the solemn, long-faced, laugh-out-loud zig-zags of Darwinism, old and Neo, and finds it irrelevant here in the Kingdom of Speech.

    Unhappy people living in profoundly unstable states, he notes, inspire pathos and make for good copy, but not for good karma. So Weiner, admitted grump and self-help book aficionado, undertook a year's research to travel the globe, looking for the "unheralded happy places." The result is this book, equal parts laugh-out-loud funny and philosophical, a journey into both the definition of and the destination for true contentment.Apparently, the happiest places on earth include, somewhat unexpectedly, Iceland, Bhutan, and India. Weiner also visits the country deemed most malcontent, Moldova, and finds real merit in the claim.But the question remains: What makes people happy? Is it the freedom of the West or the myriad restrictions of Singapore? The simple ashrams of India or the glittering shopping malls of Qatar?From the youthful drunkenness of Iceland to the despond of Slough, a sad but resilient town in Heathrow's flight path, Weiner offers wry yet profound observations about the way people relate to circumstance and fate.Both revealing and inspirational, perhaps the best thing about this hilarious trip across four continents is that for the reader, the "geography of bliss" is wherever they happen to find themselves while reading it.

    This charming, delightful and extremely funny book about daily life in a frugal English household was named by booksellers as the out-of-print novel most deserving of republication.This is a gently self-effacing, dry-witted tale of a long-suffering and disaster-prone Devon lady of the 1930s. A story of provincial social pretensions and the daily inanities of domestic life to rival George Grossmith's Diary of a Nobody.

    Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Berryman, John Cheever, and Raymond Carver. All six of these writers were alcoholics, and the subject of drinking surfaces in some of their finest work, from Cat on a Hot Tin Roof to A Moveable Feast. Often they did their drinking together—Hemingway and Fitzgerald ricocheting through the cafés of 1920s Paris; Carver and Cheever speeding to the liquor store in Iowa in the icy winter of 1973.Olivia Laing grew up in an alcoholic family herself. One spring, wanting to make sense of this ferocious, entangling disease, she took a journey across America that plunged her into the heart of these overlapping lives. As she travels from Cheever's New York to Williams' New Orleans, from Hemingway's Key West to Carver's Port Angeles, she pieces together a topographical map of alcoholism, from the horrors of addiction to the miraculous possibilities of recovery. Beautiful, captivating and original, The Trip to Echo Spring strips away the myth of the alcoholic writer to reveal the terrible price creativity can exert.

    He provides him with fatherly career advice (always carry a knife, for example) and is determined they should share the joys of pit bulls (fed with lots of Tabasco sauce), Internet porn, and all manner of more serious criminality. Des, on the other hand, desires nothing more than books to read and a girl to love (and to protect a family secret that could be the death of him). But just as he begins to lead a gentler, healthier life, his uncle—once again in a London prison—wins £140 million in the lottery and upon his release hires a public relations firm and begins dating a cannily ambitious topless model and “poet.”  Strangely, however, Lionel's true nature remains uncompromised while his problems, and therefore also Desmond's, seem only to multiply.

    In Margate and Westgate, Seabrook detects the desperate merriment of T.S. Eliot’s The Waste Land; in Rochester and Chatham, he senses the ghosts of Dickens and the drug fantasies of Thomas De Quincey; and in Broadstairs, he uncovers a weird network involving Lord Curzon, a Nazi con man, and Audrey Hepburn’s father.

    The author argues for the preservation of the time and space in which to walk in an ever more car-dependent and accelerated world.