The next morning her world is shattered. Forced to leave the comfortable home of her childhood, she is sent to London to live with relatives she never met: Aunt Margaret, beautiful and speechless, and her brothers, Francie, whose graceful music belies his clumsy nature, and the volatile Finn, who kisses Melanie in the ruins of the pleasure garden. And brooding Uncle Philip loves only the life-sized wooden puppets he creates in his toyshops. The classic gothic novel established Angela Carter as one of our most imaginative writers and augurs the themes of her later creative works. "Beneath its contemporary surface, this novel shimmers with blurred echoes—from Lewis Carroll, from 'Giselle' and 'Coppelia,' Harlequin and Punch… It leave behind it a flavor, pungent and unsettling" —The New York Times Book Review

    But Quintin, the seducer of one dove, is also the husband of another. And Petta, his once beautiful wife, is fighting back age as fiercely as Ellie is plunging into it.

    Set sixty years ago at the time of the fall of Tobruk in 1942, one of the low points of the war, and written only a year later when people still had no idea which way the war was going, A House in the Country has a verisimilitude denied to modern writers. Sebastian Faulks in Charlotte Gray or Ian McEwan in Atonement do their research and evoke a particular period, but ultimately are dependent on their own and historians' interpretation of events; whereas a novel like this one is an exact, unaffected portrayal of things as they were at the time. The TLS praised 'its evocation of the preoccupations of wartime England, and its mood of battered but sincere optimism'; and The Tablet remarked on its 'comic energy, compelling atmosphere and richly apt vocabulary.'

    . . 'Yes. It's only - I'm very fond of Alfred, ' said Laura, taking the plunge and temporarily unaware that almost all wives begin conversations about almost all husbands in precisely the same way."Laura has been married for seven years. On those occasions when an after-dinner snooze behind The Times seems preferable to her riveting conversation about their two small sons, Laura dismisses the notion that Alfred does not understand her, reflecting instead that they are what is called happily married. At thirty-four, Laura wonders if she's ever been in love -- a ridiculous thing to ask oneself. Then Duke Ayland enters her life and that vexing question refuses to remain unanswered . . . With Laura, beset by perplexing decisions about the supper menu, the difficulties of appeasing Nurse, and the necessity of maintaining face within the small village of Quinnerton, E.M. Delafield created her first "Provincial Lady." And in the poignancy of Laura's doubts about her marriage, she presents a dilemma which many women will recognise.

    A ‘nervous breakdown’ would be a politer phrase, but really she is being driven mad by her life and her madness is exacerbated by everyone’s indifference to her plight.

    Dorothy Whipple's key theme is ‘Live and Let Live’. And what she describes throughout her short stories are people, and particularly parents, who defy this maxim. For this reason her work is timeless, like all great writing. It is irrelevant that Dorothy Whipple’s novels were set in an era when middle-class women expected to have a maid; when fish knives were used for eating fish; when children did what they were told. The moral universe she creates has not changed: there are bullies in every part of society; people try their best but often fail; they would like to be unselfish but sometimes are greedy.

    Contains ten stories describing aspects of British life in the years after the war.

    Sophia is twenty-one years old, carries a newt -- Great Warty -- around in her pocket and marries -- in haste -- a young artist called Charles. Swept into bohemian London of the thirties, Sophia is ill-equipped to cope. Poverty, babies (however much loved) and her husband conspire to torment her. Hoping to add some spice to her life, Sophia takes up with the dismal, ageing art critic, Peregrine, and learns to repent her marriage -- and her affair -- at leisure. But in this case virtue is more than its own reward, for repentance brings an abrupt end to a life of unpaid bills, unsold pictures and unwashed crockery ...

    Several of the stories in 'The Woman Novelist' are about women behaving badly, and many of them are uncomfortable reading.

    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.

    ‘So it was that it came out in the same year as Sylvia Plath’s The Bell Jar. The Pumpkin Eater by Penelope Mortimer and The L-Shaped Room by Lynne Reid Banks had been published just a year or so earlier. As a needle on the historical compass of the previous decade, it quivers with the anticipation of change, poised at the very end of what had gone before.When the manuscript was first submitted to a publisher they complained that they couldn’t imagine why anyone would want to read about a funeral. But that is precisely this book’s appeal; people behave strangely and badly around death and a family funeral has a dark comic drama all of its own. The plot is simple; a wealthy family gathers at the family home (a 2,000 acre country estate in Derbyshire) in the aftermath of the patriarch’s death; to mourn him, bury him and read his will. Jane Hervey restricts herself to four chapters, corresponding to four days, and the weight of the novel lies in the relationships between the old man’s surviving wife and adult children as they begin to realise what his death will mean.Jane Hervey is brilliant on the power play within a family: who gets what and who does what in the vacuum left by a dead parent. She observes the struggle between husband and wife, child and parent, older and younger siblings, those with status and those without and how that status is achieved. Her novel is restless with these constantly shifting positions as the characters jostle and bicker for advantage."- Persephone

    These four volumes record in detail the life of Miriam Henderson. Through her experience - personal, spiritual, intellectual - Dorothy Richardson explores intensely what it means to be a woman, presenting feminine conciousness with a new voice, a new identity.

    Based on the last years of the writer Violet Hunt, a once-glamorous woman living in Kensington during the Blitz who is now losing her memory, the novel's three 'acts' describe with insight, humour and compassion what happens to 'Claire Temple' in her last months. 'A quite extraordinary book,' was the verdict of Cressida Connolly in the Spectator, 'unflinchingly, blackly funny, brilliantly observed and terrifying.' And because Claire Temple is an unrepentant snob, 'the novel gives a sly account of the end of an entire way of life.'

    Drawing on the novels to illuminate themes such as domestic life, romantic love, sex, psychoanalysis, the Great War and ‘surplus’ women, A Very Great Profession uses the work of numerous women writers to present a portrait, though their fiction, of middle-class Englishwomen in the period between the wars.

    It is a precise, evocative but unsentimental account of a period of transition; it's an absorbing novel, and a useful piece of social history.'