Mitford's most famous novels, "The Pursuit of Love" and "Love in a Cold Climate," satirize British aristocracy in the '20s and '30s through the amorous adventures of the Radletts, an exuberantly unconventional family closely modeled on Mitford's own.

    For if each of A.S. Byatt's narratives is in some way inspired by a painting of Henri Matisse, each is also about the intimate connection between seeing and feeling--about the ways in which a glance we meant to be casual may suddenly call forth the deepest reserves of our being. Beautifully written, intensely observed, The Matisse Stories is fiction of spellbinding authority."Full of delight and humor...The Matisse Stories is studded with brilliantly apt images and a fine sense for subtleties of conversation and emotion."--San Francisco Chronicle

    Harrison's Confessions / Cranford / My Lady Ludlow In this witty and poignant story the railway is pushing its way relentlessly towards the town from Manchester, bringing fears of migrant workers and the breakdown of law and order. The arrival of handsome young Doctor Harrison causes yet further agitation not just because of his revolutionary methods but also because of his effect on the hearts of the ladies. Meanwhile Miss Matty Jenkyns nurses her own broken heart after she was forced to give up the man she loved when she was a young girl.

    A child spiritually oppressed, a school run on shallow and mercenary principles, a brutish schoolmistress, a quiet observer of the injustice and cruelty--it contained the same preoccupations which elsewhere had called forth her most passionate and dramatic writing. Another Lady has now at last fulfilled the promise of that novel. Her lively powers of invention have worked the unfolding mystery of Charlotte Brontë's two opening chapters into an exciting and poignant story. The characters grow in vitality and complexity while remaining true in spirit, tone and style to the original conception. The wanton havoc wrought by Emma in the life of Mrs Chalfont, the narrator, is not the only proof of her ruthlessness; she plays a part, too, in the sufferings of the abandoned child, Martina. The affection which grows between Mrs Chalfont and Martina out of their mutual distress illumines this story, and Emma herself, with her inexplicable motives, her incomprehensible anger and her darkness of soul, develops into a character of whom Charlotte Brontë would have been proud.

    Still above is Vaikuntha, heaven, abode of God.The doorkeepers of Vaikuntha are the twins, Jaya and Vijaya, both whose names mean 'victory'. One keeps you in Swarga; the other raises you into Vaikuntha.In Vaikuntha there is bliss forever, in Swarga there is pleasure for only as long as you deserve. What is the difference between Jaya and Vijaya? Solve this puzzle and you will solve the mystery of the Mahabharata.In this enthralling retelling of India's greatest epic, the Mahabharata originally known as Jaya, Devdutt Pattanaik seamlessly weaves into a single narrative plots from the Sanskrit classic as well as its many folk and regional variants, including the Pandavani of Chhattisgarh, Gondhal of Maharashtra, Terukkuttu of Tamil Nadu and Yakshagana of Karnataka.Richly illustrated with over 250 line drawings by the author, the 108 chapters abound with little-known details such as the names of the hundred Kauravas, the worship of Draupadi as a goddess in Tamil Nadu, the stories of Astika, Madhavi, Jaimini, Aravan and Barbareek, the Mahabharata version of the Shakuntalam and the Ramayana, and the dating of the war based on astronomical data.With clarity and simplicity, the tales in this elegant volume reveal the eternal relevance of the Mahabharata, the complex and disturbing meditation on the human condition that has shaped Indian thought for over 3000 years.

    And his greatest creation was, of course, Flashman. The novels collected here find our hero in the midst of his usual swashbuckling adventures of derring-do: fleeing adversaries in the First Anglo-Afghan War; meeting and nearly deceiving a young Abraham Lincoln in America; alternately impersonating a native Indian cavalry recruit and wooing women in India; and managing, whatever the circumstances, to keep his hero’s reputation unsullied.A must-have treat for the legions of dedicated Flashman fans, and a delightful introduction for those lucky enough to be encountering him for the first time.

    Stella Rodney is one of those who chose to stay. But for her, the sense of impending catastrophe becomes acutely personal when she discovers that her lover, Robert, is suspected of selling secrets to the enemy, and that the man who is following him wants Stella herself as the price of his silence. Caught between these two men, not sure whom to believe, Stella finds her world crumbling as she learns how little we can truly know of those around us.

    In The Trumpet-Major, the tale of a woman courted by three competing suitors during the Napoleonic wars, he explores the subversive effects of ordinary human desire and conflicting loyalties on systematized versions of history. This edition restores Hardy's original punctuation and removes the bowdlerisms forced upon the text on its initial publication.

    Longing for passion and independence, Olivia is drawn into the spell of the Nawab, a minor Indian prince deeply involved in gang raids and criminal plots. She is intrigued by the Nawab's charm and aggressive courtship, and soon begins to spend most of her days in his company. But then she becomes pregnant, and unsure of the child's paternity, she is faced with a wrenching dilemma. Her reaction to the crisis humiliates her husband and outrages the British community, breeding a scandal that lives in collective memory long after her death.

    There he befriends the young, bright Andrew, a conscientious objector serving as an orderly. As they find solace and companionship together in the idyllic surroundings of the hospital, their friendship blooms into a discreet, chaste romance. Then one day, Ralph Lanyon, a mentor from Laurie’s schoolboy days, suddenly reappears in Laurie’s life, and draws him into a tight-knit social circle of world-weary gay men. Laurie is forced to choose between the sweet ideals of innocence and the distinct pleasures of experience. Originally published in the United States in 1959, The Charioteer is a bold, unapologetic portrayal of male homosexuality during World War II that stands with Gore Vidal’s The City and the Pillar and Christopher Isherwood’s Berlin Stories as a monumental work in gay literature.

    The story reflects the social, political and religious scene in Bengal at the turn of the century. The forces that were operating in Bengal at that time were one of the intense nationalism and revival of ancient spiritual values and also that of liberal western thought. What makes Gora a great prose epic is not only its social content but also its brilliant story of self-searching, of resolution, of conflicts and of self discovery.

    In "The Easter Parade, "he tells the story of two sisters whose parents' divorce overshadows their entire lives. And in the stories in "Eleven Kinds of Loneliness, "we witness men and women striving for better lives amid discouragement and disillusion. (Book Jacket Status: Jacketed)

    He was surviving alone, outside the war, until he happened to win a cake at the fête. From that moment, he is ruthlessly hunted by Nazi agents and finds himself the prey of malign and shadowy forces. This Penguin Classics edition features an introduction by Alan Furst.

    L. Carr's deeply charged poetic novel, Tom Birkin, a veteran of the Great War and a broken marriage, arrives in the remote Yorkshire village of Oxgodby where he is to restore a recently discovered medieval mural in the local church. Living in the bell tower, surrounded by the resplendent countryside of high summer, and laboring each day to uncover an anonymous painter's depiction of the apocalypse, Birkin finds that he himself has been restored to a new, and hopeful, attachment to life. But summer ends, and with the work done, Birkin must leave. Now, long after, as he reflects on the passage of time and the power of art, he finds in his memories some consolation for all that has been lost.

    He imagines us capable of disinterested curiosity in the behaviour of our kind.' In this, the most dazzlingly intellectual of all his novels, Meredith tries to illuminate the pretensions of the most powerful class within the very citadel of security which its members have built. He develops to their logical extremity his ideas on egoism, on sentimentality and on the power of comedy. Meredith saw egoism as the great enemy of truth, feeling and progress, and comedy as the great dissolver of artifice. The Egoist is the extreme expression of his recurrent theme: the defeat of egoism by the power of comedy.