Winifred Holtby affectionately observes the foibles of human nature in this sparkling satire, first published in 1931 and Clifton Johnson, a seedy American scenario writer on the make.

    At thirty-four she finds that her external life of dreary routine fails to match up to her lush, wistful and dreamy internal life. Norah, her energetic and chaotic friend, is equally settled in her own marriage to an irritable university professor.Then Hugh Miller and his sister Claire descend upon the quiet town. On all four, the hypnotic charm of these two visitors exerts an enchanting spell. And after their departure, life - having been violently disrupted - will never be quite the same again . . .

    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.

    She should not speak of "being friends" with him -- a young man is either eligible or he is not-and never, but never, should she get herself talked about, for a young girl who does so is doomed. "Men may dance with her, or flirt with her, but they don't propose." It would be quite a coup for a girl to find a husband during her first season, but if, God forbid, three seasons pass without success, she must join the ranks of those sad women who are a great embarrassment to society and, above all, to their disappointed mothers . . . With such thoughts in mind, how can Monica fail to look forward to her first ball?

    The English village of Wealding is no longer troubled by distant sirens, yet the rustling coils of barbed wire are a reminder that something, some quality of life, has evaporated. Together again after years of separation, Laura and Stephen Marshall and their daughter Victoria are forced to manage without "those anonymous caps and aprons who lived out of sight and pulled the strings." Their rambling garden refuses to be tamed, the house seems perceptibly to crumble. But alone on a hillside, as evening falls, Laura comes to see what it would have meant if the war had been lost, and looks to the future with a new hope and optimism. First published in 1947, this subtle, finely wrought novel presents a memorable portrait of the aftermath of war, its effect upon a marriage, and the gradual but significant change in the nature of English middle-class life.

    Temporarily, this is home for Julia, who has joined her husband Roddy at the behest of the RAF. Although she can accept the pomposities of service life, Julia's honesty and sense of humor prevent her from taking her role as seriously as her husband, that leader of men, might wish; for Roddy, merely love cannot suffice - he needs homage as well as admiration. And Julia, while she may be a most unsatisfactory officer's wife, is certainly no hypocrite.An Alternate Cover for this edition can be found here.

    Dell and Elinor Glyn up a tree. Following the death of their grandfather - in whose enormous Warwickshire house they live - their mother relinquishes drink (to which she had taken in a big way) for the joys of frantic housework. Naturally the girls long to escape.Blanche trains as a mannequin at a dubious institution in London, and Vicky flees to Holland and a purgatorial life as an au pair to a lot of dogs. But this is only the beginning and other adventures await them, including the poverty and cabbage smells of one-room living, the charcoaled fingers of art school, drunkenness and cheap restaurants of Soho bohemia, and varying degrees of excitement with several husbands and lovers.First published in 1967, A Touch of Mistletoe shows Barbara Comyns' original voice at its best, mixing a characteristic simplicity with a quiet but cunning wit.

    At its centre is Laura Leroy, an attache's wife, "admired, valued and a little feared", though privately grieving for her children and for England. When a group embarks on a camping trip to a great temple, the breathtaking scenery provides a perfect backdrop for romance and, while offering wise and tactful advice to the young lovers in her midst, Laura finds her own heart touched by a lonely visitor, But all such contemplations must be cast aside when a group of bandits takes the party hostage and violence erupts...

    Mamma, the archetype of all women who rule through weakness and suffering, dominates her Victorian household, idolizing her sons, rejecting the independent love of her only daughter. Mary, in response, both adores and hates her mother.

    At the beginning of the novel she's returned after a long absence to the fictional town of Radstowe (which is a thinly disguised portrait of Bristol). Miss Mole is not getting along well with her current employer and after a few days in a boarding house, gets a new job via her cousin Lilla, who is from the wealthier side of the family and has some good contacts. Without revealing the family connection, Lilla recommends her for a job as a housekeeper of sorts for a rather stuffy, pompous minister named Robert Corder, whose wife has recently passed away. The household consists of Reverend Corder, a nonconformist; daughter Ethel, who's rather desperately looking for a man so she can escape the house; young Ruth, who is still in school and longing for a mother figure; and their sassy cousin Wilfred, who's attending medical school nearby. Wilfred's presence in the house is rather awkward and raises a few eyebrows, but his mother is wealthy and the Reverend can't risk offending her. A spinster housekeeper/chaperone is exactly what they need to keep the house respectable -- or so they think. Miss Mole moves in and simultaneously elevates their lives and yet turns things upside-down. She's comforting and yet slyly subversive, and Reverend Corder doesn't quite know if he should appreciate her or fear her, as Hannah is smarter than he is. Wilfred takes to her instantly, recognizing her sharp with, and Ruth grows to love her. Eventually, though, there are whispers about Miss Mole's background which much be addressed, and we learn the real reason for her long absence from her hometown.

    They couldn't be more different: Jane is a rather incompetent vicar's wife, who always looks as if she is about to feed the chickens, while Prudence, a pristine hothouse flower, has the most unsuitable affairs. With the move to a rural parish, Jane is determined to find her friend the perfect man. She learns that matchmaking has as many pitfalls as housewifery...

    They find each other—and the castle of their dreams—through a classified ad in a London newspaper one rainy February afternoon. The ladies expect a pleasant holiday, but they don’t anticipate that the month they spend in Portofino will reintroduce them to their true natures and reacquaint them with joy. Now, if the same transformation can be worked on their husbands and lovers, the enchantment will be complete.The Enchanted April was a best-seller in both England and the United States, where it was a Book-of-the-Month Club selection, and set off a craze for tourism to Portofino. More recently, the novel has been the inspiration for a major film and a Broadway play.

    She also introduces us to specific characters as well as 'types' who will appear and reappear in changing relationships as the years go by. There is the middle-aged woman centrally involved in the events and activities around her; here, Laura Morland, a happily widowed author of very successful 'good bad books' (Thirkell herself?). A disappointed suitor and/or a brief, ill-conceived infatuation of younger man with older woman. At least two romances to work out—an older couple and a younger one—with mild crises along the way. A closing of ranks among the women vs the intruder nicknamed 'the Incubus' resolves both affairs to the satisfaction of all. Especially delightful are the children, servants and other retainers; well defined characters in their own right; from motor-mouthed young Tony Morland and his model railways to housekeeper Stoker and her grapevine among the servants of the neighbourhood.

    There is Victoria, a Pre-Raphaelite beauty intent on marriage; Maurice, shaking his fist at the injustices of the world; Stanley, a follower of Ruskin ad Morris, doing good as radical fashion dictates; Irving, a lusty young capitalist, and Una, born for happy marriage and maternity. All are watched from the sidelines by their sister Rome. Detached, intelligent, urbane, she observes three generations of her family strut and fret their hour upon the stage. To her their sound and fury signify nothing -- but to us the memory of Rome's one brief love affair strikes the final note of truth, defiantly affirming that it is better to have loved and lost...

    Grand’s compelling story recounts in vivid detail the childhood of her young heroine, Beth, a spirited and intelligent girl who challenges the limitations of provincial life in Ireland and Yorkshire.