Gordon Comstock has declared war on the money god; and Gordon is losing the war. Nearly 30 and "rather moth-eaten already," a poet whose one small book of verse has fallen "flatter than any pancake," Gordon has given up a "good" job and gone to work in a bookshop at half his former salary. Always broke, but too proud to accept charity, he rarely sees his few friends and cannot get the virginal Rosemary to bed because (or so he believes), "If you have no money ... women won't love you." On the windowsill of Gordon's shabby rooming-house room is a sickly but unkillable aspidistra--a plant he abhors as the banner of the sort of "mingy, lower-middle-class decency" he is fleeing in his downward flight.In Keep the Aspidistra Flying, George Orwell has created a darkly compassionate satire to which anyone who has ever been oppressed by the lack of brass, or by the need to make it, will all too easily relate. He etches the ugly insanity of what Gordon calls "the money-world" in unflinching detail, but the satire has a second edge, too, and Gordon himself is scarcely heroic. In the course of his misadventures, we become grindingly aware that his radical solution to the problem of the money-world is no solution at all--that in his desperate reaction against a monstrous system, he has become something of a monster himself. Orwell keeps both of his edges sharp to the very end--a "happy" ending that poses tough questions about just how happy it really is. That the book itself is not sour, but constantly fresh and frequently funny, is the result of Orwell's steady, unsentimental attention to the telling detail; his dry, quiet humor; his fascination with both the follies and the excellences of his characters; and his courageous refusal to embrace the comforts of any easy answer.

    But their days of childhood innocence and adventure are destined to be followed by the apocalypse that will overwhelm their world as they come to adulthood.For Rosie, the path ahead is full of challenges: torn between her love for two young men, her sense of duty and her will to live her life to the full, she has to navigate her way through extraordinary times. Can she, and her sisters, build new lives out of the opportunities and devastations that follow the Great War?Louis de Bernières’ magnificent and moving novel follows the lives of an unforgettable cast of characters as the Edwardian age disintegrates into the Great War, and they strike out to seek what happiness can be salvaged from the ruins of the old world.

    The life story, character and friends of Jacob are presented in a series for separate scenes and moments from his childhood, through college at Cambridge, love affairs in London, and travels in Greece, to his death in the war. Jacob's Room established Virginia Woolf's reputation as a highly poetic and symbolic writer who places emphasis not on plot or action but on the psychological realm of occupied by her characters.

    Retreating into the past, she finds herself reliving one particular hot summer in Nagasaki, when she and her friends struggled to rebuild their lives after the war. But then as she recalls her strange friendship with Sachiko - a wealthy woman reduced to vagrancy - the memories take on a disturbing cast.

    Social climber Alroy Kear is flattered when he is selected by Edward Driffield's wife to pen the official biography of her lionized novelist husband, and determined to write a bestseller. But then Kear discovers the great novelist's voluptuous muse (and unlikely first wife), Rosie. The lively, loving heroine once gave Driffield enough material to last a lifetime, but now her memory casts an embarrissing shadow over his career and respectable image. Wise, witty, deeply satisfying, Cakes and Ale is Maugham at his best.

    David Lodge, portraying two American and British professors who replace one another at their respective institutions, gives greed, pettiness, and pretense full rein.

    But in Great Britain, it is the real football. No pads, no prayers, no prisoners. And that's before the players even take the field.Nick Hornby has been a football fan since the moment he was conceived. Call it predestiny. Or call it preschool. Fever Pitch is his tribute to a lifelong obsession. Part autobiography, part comedy, part incisive analysis of insanity, Hornby's award-winning memoir captures the fever pitch of fandom — its agony and ecstasy, its community, its defining role in thousands of young mens' coming-of-age stories. Fever Pitch is one for the home team. But above all, it is one for everyone who knows what it really means to have a losing season.

    Both Clive Linley and Vernon Halliday had been Molly's lovers in the days before they reached their current eminence: Clive is Britain's most successful modern composer, and Vernon is editor of the newspaper The Judge. Gorgeous, feisty Molly had other lovers, too, notably Julian Garmony, Foreign Secretary, a notorious right-winger tipped to be the next prime minister.In the days that follow Molly's funeral, Clive and Vernon will make a pact with consequences that neither could have foreseen. Each will make a disastrous moral decision, their friendship will be tested to its limits, and Julian Garmony will be fighting for his political life. A sharp contemporary morality tale, cleverly disguised as a comic novel, Amsterdam is "as sheerly enjoyable a book as one is likely to pick up this year" (The Washington Post Book World).

    For almost all of those years she has been the clandestine lover to Paul Sheringham, young heir of a neighboring house. The two now meet on an unseasonably warm March day—Mothering Sunday—a day that will change Jane's life forever. As the narrative moves back and forth from 1924 to the end of the century, what we know and understand about Jane—about the way she loves, thinks, feels, sees, remembers—expands with every vividly captured moment. Her story is one of profound self-discovery, and through her, Graham Swift has created an emotionally soaring, deeply affecting work of fiction.

    The Virgin in the Garden is a wonderfully erudite entertainment in which enlightenment and sexuality, Elizabethan drama and contemporary comedy, intersect richly and unpredictably.

    Like Kazuo Ishiguro's The Remains of the Day, So Many Ways to Begin is rich in the intimate details that shape a life, the subtle strain that defines human relationships, and the personal history that forms identity. David Carter, the novel's protagonist, takes a keen interest in history as a boy. Encouraged by his doting Aunt Julia, he begins collecting the things that tell his story: a birth certificate, school report cards, annotated cinema and train tickets. After finishing school, he finds the perfect job for his lifetime obsession as curator at a local history museum. His professional and romantic lives take shape as his beloved aunt and mentor's unravel. Lost in a fog of senility, Julia lets slip a secret about David's family. Over the course of the next decades, as David and his wife Eleanor live out their lives - struggling through early marriage, professional disappointments, the birth of their daughter, Eleanor's depression, and an affair that ends badly, David attempts to physically piece together his past, finding meaning and connection where he least expects it.

    Jerome's Three Men in a Boat includes an introduction and notes by Jeremy Lewis in Penguin Classics.Martyrs to hypochondria and general seediness, J. and his friends George and Harris decide that a jaunt up the Thames would suit them to a 'T'. But when they set off, they can hardly predict the troubles that lie ahead with tow-ropes, unreliable weather forecasts and tins of pineapple chunks - not to mention the devastation left in the wake of J.'s small fox-terrier Montmorency. Three Men in a Boat was an instant success when it appeared in 1889, and, with its benign escapism, authorial discursions and wonderful evocation of the late-Victorian 'clerking classes', it hilariously captured the spirit of its age.In his introduction, Jeremy Lewis examines Jerome K. Jerome's life and times, and the changing world of Victorian England he depicts - from the rise of a new mass-culture of tabloids and bestselling novels to crazes for daytripping and bicycling.

    A new bell, legendary symbol of religion and magic, is rediscovered. Dora Greenfield, erring wife, returns to her husband. Michael Mead, leader of the community, is confronted by Nick Fawley, with whom he had disastrous homosexual relations, while the wise old Abbess watches and prays and exercises discreet authority. And everyone, or almost everyone, hopes to be saved, whatever that may mean....Iris Murdoch's funny and sad novel has themes of religion, the fight between good and evil, and the terrible accidents of human frailty.

    Billed as The Lucky Chances, the sisters are the illegitimate and unacknowledged daughters of Sir Melchior Hazard, the greatest Shakespearean actor of his day. At once ribald and sentimental, glittery and tender, this rambunctious family saga is Angela Carter at her bewitching best.

    This story of three closely related Oxfordshire communities - a hamlet, the nearby village and a small market town - is based on the author's experiences during childhood and youth. It chronicles May Day celebrations and forgotten children's games, the daily lives of farmworkers and craftsmen, friends and relations - all painted with a gaiety and freshness of observation that make this trilogy an evocative and sensitive memorial to Victorian rural England.With a new introduction by Richard Mabey