In telling lies, Laura learns both the astonishing allure of fiction and the social costs of stepping beyond the bounds of propriety, gender, class, and family ties.The novel is only in part a fictionalised account of Richardson's school years at the Presbyterian Ladies College, Melbourne, where (unlike her fictional counterpart) she was not only academically successful but also an outstanding student of music. Unusual for stories of school-life, The Getting of Wisdom was clearly aimed at a mature readership able to understand irony and a critique of the colonial educational provision of its day, including a determination to preserve sexual ignorance in young women.

    There's Kelly, at eleven, neglected and independent, dealing with a squalid rape; Dinah, knocking on sixty and still on the game; Joanne, not yet twenty, not yet married, and already pregnant; Old Alice, welcoming her impending death; Muriel helplessly watching the decline of her stoical husband. And linking them all, watching over them all, mother to half the street, is fiery, indomitable Iris.

    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.

    Mazie, the oldest daughter in the growing family of Jim and Anna Holbrook, tells the story of the family's desire for a better life – Anna's dream that her children be educated and Jim's wish for a life lived out in the open, away from the darkness and danger of the mines. At every turn in their journey, however, their dreams are frustrated, and the family is jeopardized by cruel and indifferent systems.

    The highly acclaimed New York Times Book Review Notable Book of 1998 and Booker Prize Nominee that reinvents the historical novel.A misadventure in a brothel links the destiny of the enigmatic George Hardy, a surgeon and amateur photographer, to a foundling who becomes his obsessively devoted maid, a wily street boy who takes advantage of his sexual ambiguity, and his alternately philosophical and libidinous brother-in-law in this terse, searing novel that takes them from the comfortable parlors of Victorian Liverpool to the horrific battlefields of the Crimean War.

    Copperfield at a party. Two serious ladies who want to live outside of themselves, they go in search of salvation: Mrs. Copperfield visits Panama with her husband, where she finds solace among the women who live and work in its brothels; while Miss Goering becomes involved with various men. At the end the two women meet again, each changed by her experience. Mysterious, profound, anarchic and very funny, 'Two Serious Ladies' is a daring, original work that defies analysis.

    London’s favorite musical comedy of the past two years was finishing its run at the end of the week. Suddenly, the line began to move, forming a wedge before the open doors as hopeful theatergoers nudged their way forward. But one man, his head sunk down upon his chest, slowly sank to his knees and then, still more slowly, keeled over on his face. Thinking he had fainted, a spectator moved to help, but recoiled in horror from what lay before him: the man in the queue had a small silver dagger neatly plunged into his back. With the wit and guile that have made Inspector Grant a favorite of mystery fans, the inspector sets about discovering just how a murder occurred among so many witnesses, none of whom saw a thing.

    The family house is in the small Far West town of Fingerbone set on a glacial lake, the same lake where their grandfather died in a spectacular train wreck, and their mother drove off a cliff to her death. It is a town "chastened by an outsized landscape and extravagant weather, and chastened again by an awareness that the whole of human history had occurred elsewhere." Ruth and Lucille's struggle toward adulthood beautifully illuminates the price of loss and survival, and the dangerous and deep undertow of transience.

    That the marriage should fail and poor Lilia die tragically are only to be expected. But that Lilia should have had a baby - and that the baby should be raised as an Italian! - are matters requiring immediate correction by Philip Herriton, his dour sister Harriet, and their well-meaning friend Miss Abbott.

    Her over-the-top drama was one of the most popular novels of the mid-1800s and provides an interesting portrayal of both class- and gender issues as they intersect within the domestic sphere.

    For the rest of his life he, too, will be trying to fly. With this brilliantly imagined novel, Toni Morrison transfigures the coming-of-age story as audaciously as Saul Bellow or Gabriel García Márquez. As she follows Milkman from his rustbelt city to the place of his family’s origins, Morrison introduces an entire cast of strivers and seeresses, liars and assassins, the inhabitants of a fully realized black world.

    Then one night on an exotic island she meets Larraby, a successful portrait painter, and through a long night of talk reveals how she is afraid to commit herself to a second chance of happiness with another person, yet is not brave enough to face life alone. Can Larraby help Celia come to terms with the past or will they part, her outcome still uncertain?'In Celia we have more nearly than anywhere else a portrait of Agatha.' Max Mallowan, Agatha Christie's second husband.

    Though her own circumstances remain indistinct, she becomes the audience to a chain of narratives, as the people she meets tell her one after another the stories of their lives.Beginning with the neighbouring passenger on the flight out and his tales of fast boats and failed marriages, the storytellers talk of their loves and ambitions and pains, their anxieties, their perceptions and daily lives. In the stifling heat and noise of the city the sequence of voice begins to weave a complex human tapestry. The more they talk the more elliptical their listener becomes, as she shapes and directs their accounts until certain themes begin to emerge: the experience of loss, the nature of family life, the difficulty of intimacy and the mystery of creativity itself.Outline is a novel about writing and talking, about self-effacement and self-expression, about the desire to create and the human art of self-portraiture in which that desire finds its universal form.

    She thinks she sees through everyone and rules over a family of dependents with knowing cynicism. But there are two people in Redborough who resist her. One is Hester, a young relation with a personality as strong as Catherine's, and as determined to find a role for herself. The other is Edward, who Catherine treats like a son. Conflict between the young and the old is inevitable, and in its depiction of the complex relationships that develop between the three principal characters, Hester is a masterpiece of psychological realism. In exploring the difficulty of understanding human nature, it is also a compulsive story of financial and sexual risk-taking that inevitably results in a searing climax.Margaret Oliphant is one of the great Victorian novelists, and this edition re-establishes her importance.

    A true original, she is a one-of-a-kind literary sensation. Her novels consistently attract serious acclaim and discussion—and have won her a dedicated readership who are drawn again and again to the warmth, humanity and humor of her voice. How to be both is a novel all about art’s versatility. Borrowing from painting’s fresco technique to make an original literary double-take, it’s a fast-moving genre-bending conversation between forms, times, truths and fictions. There’s a Renaissance artist of the 1460s. There’s the child of a child of the 1960s. Two tales of love and injustice twist into a singular yarn where time gets timeless, structural gets playful, knowing gets mysterious, fictional gets real—and all life’s givens get given a second chance.A NOTE TO THE READER:Who says stories reach everybody in the same order?This novel can be read in two ways and this book provides you with both.In half of all printed editions of the novel the narrative EYES comes before CAMERA.In the other half of printed editions the narrative CAMERA precedes EYES.The narratives are exactly the same in both versions, just in a different order. The books are intentionally printed in two different ways, so that readers can randomly have different experiences reading the same text. So, depending on which edition you happen to receive, the book will be: EYES, CAMERA, or CAMERA, EYES. Enjoy the adventure.