As she deftly and delicately exposes the cruelty that lurks behind the polished surfaces of conventional society, Bowen reveals herself as a masterful novelist who combines a sense of humor with a devastating gift for divining human motivations.In this piercing story of innocence betrayed set in the thirties, the orphaned Portia is stranded in the sophisticated and politely treacherous world of her wealthy half-brother's home in London. There she encounters the attractive, carefree cad Eddie. To him, Portia is at once child and woman, and he fears her gushing love. To her, Eddie is the only reason to be alive. But when Eddie follows Portia to a sea-side resort, the flash of a cigarette lighter in a darkened cinema illuminates a stunning romantic betrayal—and sets in motion one of the most moving and desperate flights of the heart in modern literature.

    A cheating wife, back with her boring husband, is wracked with agonizing love for the unavailable partner of her brief fling; a writer seeks inspiration at a writers' retreat whilst avoiding the group seducer's invitation; a wife's party flirtations propel her possessive husband into another woman's bed; two fun-loving women face a sinister sexual assault during a Greek holiday; a teenager experiences enraptured detachment during her first kiss.Beautifully written, perceptive, touching, and funny, Midsummer Night in the Workhouse is Diana Athill at her best.

    Evangeline Knapp is the perfect, compulsive housekeeper, while her husband, Lester, is a poet and a dreamer. Suddenly, through a nearly fatal accident, their roles are reversed: Lester is confined to home in a wheelchair and his wife must work to support the family. The changes that take place between husband and wife and particularly between parents and children are both fascinating and poignant.

    She lives for three years on a desert island before being rescued by a destroyer in 1943. When she returns to England it seems to her to have gone mad: she cannot buy clothes without 'coupons', and she is considered uncivilised if she walks barefoot or is late for meals.

     Every Eye concerns Hattie, a woman not really at home anywhere, least of all among her manipulative family, which has assigned her the role of shabby-genteel London spinster. She has understood little about her existence, and about her strange, aborted love affair with a much older man--the central mystery of her life. Now, while in Ibiza with her new young husband, the meaning of her past is becoming clear, its hidden patterns emerging from gray English shadows into the blazing Mediterranean sun."It is in Ibiza that the story breaks free from its resentments," said Anita Brookner in praise of this remarkable neglected novel, "a lucidly written account of various kinds of confusion ... and a valuable lesson in where to look for freedom."

    But as WWII overtakes the country, the family, like so many others, slowly disintegrates. Told partly from the perspective of the children, but not a children's book, Saplings is immensely readable . . . a dark inversion of the author’s best-known book, the children’s classic Ballet Shoes.

    His boredom, his wife’s (suppressed and confused) dismay at the quiet orderliness of her life being destroyed, their growing tension with each other, is beautifully and kindly described. Then one day they do something they used to do more often – leave St John’s Wood and go out into the countryside for the day. And that walk changes their lives forever: they see a house for sale, decide to move there, and the nub of the book is a description of their leaving London, the move, and the new life they create for themselves.

    Set in the turbulent Germany of the Weimar Republic, it goes on, equally dramatically, to describe the lives of the children and their families until 1933 when the Nazis came to power. 'What is so unusual,' wrote the playwright Berthold Viertel in 1938, 'is the way the novel contrasts the children's community - in all its idealism, romanticism, decency and enchantment - with the madhouse community of the adults.'

    Elizabeth Jenkins's artistry, however, transforms the bare facts of this case from the annals of Victorian England's Old Bailey into an absolutely spine-chilling exploration of the depths of human depravity.

    Hedged in by her parents' genteel country life, she plans her escape to London. There, she takes up with Innes Kent, a magazine editor who wears duck-egg blue ties and introduces her to the thrilling, underground world of bohemian, post-war Soho. She learns to be a reporter, to know art and artists, to embrace her life fully and with a deep love at the center of it. She creates many lives--all of them unconventional. And when she finds herself pregnant, she doesn't hesitate to have the baby on her own. Later, in present-day London, a young painter named Elina dizzily navigates the first weeks of motherhood. She doesn't recognize herself: she finds herself walking outside with no shoes; she goes to the restaurant for lunch at nine in the morning; she can't recall the small matter of giving birth. But for her boyfriend, Ted, fatherhood is calling up lost memories, with images he cannot place. As Ted's memories become more disconcerting and more frequent, it seems that something might connect these two stories-- these two women-- something that becomes all the more heartbreaking and beautiful as they all hurtle toward its revelation. Here Maggie O'Farrell brings us a spellbinding novel of two women connected across fifty years by art, love, betrayals, secrets, and motherhood. Like her acclaimed The Vanishing Act of Esme Lennox, it is a "breathtaking, heart-breaking creation." (The Washington Post Book World) and it is a gorgeous inquiry into the ways we make and unmake our lives, who we know ourselves to be, and how even our most accidental legacies connect us.

    In 1913 they published this unique record in Round About a Pound a Week. We learn about family life, births, marriages and deaths; of grinding work carried out on a diet of little more than bread, jam and margarine. We learn how they coped with damp, vermin and bedbugs; how they slept - four to a bed, in banana crates; how they washed, cooked, cleaned, scrimped for furniture and clothes, saved for all too frequent burials...This classic text is one of the most important and vivid historical portraits of the daily life of working people in the early part of the twentieth century.

    She anticipates her first dance, the greatest yet most terrifying event of her restricted social life, with tremulous uncertainty and excitement. For her pretty, charming elder sister Kate, the dance is certain to be a triumph, but what will it be for shy, awkward Olivia?Exploring the daydreams and miseries attendant upon even the most innocent of social events, Rosamond Lehmann perfectly captures the emotions of a girl standing poised on the threshold of womanhood.

    Their one thought is to get to Dublin, to university and to freedom...On their first day at University College, Dublin, the inseparable pair are thrown together with fellow students Nan Mahon, beautiful but selfish, and handsome Jack Foley. But trouble is brewing for Benny and Eve's new circle of friends, and before long, they find passion, tragedy - and the independence they yearned for.

    Teresa's elderly, willful father drags her off to India to spare her from the clutches of her mother.

    Here Mary has spent thirty-five years, devoting herself to her sister, now dead, and to her father, Canon Jocelyn. Although she is pitied by her neighbours for this muted existence, Mary is content. But when she meets Robert Herbert, Mary's ease is destroyed and years of suppressed emotion surface through her desire for him. First published in 1924 this novel is an impressive exploration of Mary's relationship with her father, of her need for Robert and the way in which, through each, she comes to a clearer understanding of love.