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This volume is a collection of three of Henry Green's rich and vital explorations of class distinction as mediated through the experience of love and language. LOVING is set during World War II and examines the lives of servants and their masters in a remote Irish castle. LIVING, published when Green was 24, reflects his own experience working in the family firm in Birmingham. In this novel, Green demonstrates his preoccupation with the close depiction of day-to-day life, contrasting the varying fortunes of the employees and the owners. PARTY GOING, a wonderful example of Green's elaborate and impressionistic prose, presents a party of wealthy travelers with a great deal of money and no sense of responsibility caught by fog in London railway hotel while a crowd of workers wait for a train below.
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In this second installment of the His Dark Materials trilogy, Lyra and her friend Will travel to a strange, tropical otherworld known as Cittagazze, a place devoid of adults, where children run wild. As Lyra and Will's lives become more and more entwined, Lyra's alethiometer commands her to find Will's father, and the search brings her and Will closer to the Subtle Knife, a magical tool that cuts windows between worlds. Inspired by John Milton's PARADISE LOST, this trilogy begins with THE GOLDEN COMPASS and concludes with THE AMBER SPYGLASS.
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Hours after Priscilla Eads pleads with him to take her case, Nero Wolfe is shocked to find out that she was murdered, and soon he is investigating her fortune-hunting husband and greedy business associates. Reissue.
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Misery's Mathematics reveals the strain of a moment in American cultural history that led several remarkable writers - including Emerson, Warner, Melville and Hawthorn - to render the stark rupture of loss in innovative ways. Pushing Protestant culture's sense of loss into secular terrain, these four key writers rejected Calvinist and sentimental models of bereavement, creating instead the compensations of a mature American literature whose'originality' stems from its capacity to mourn the loss of a common culture and, through such mourning, to assent to new social and cultural realities. Peter Balaam locates this appeal to'reality' in the analogies antebellum writers draw between their experience of bereavement and the experiences of uncertainty and disillusionment that following the revolutions in science, the winding down of creedal systems and the economic instability that typified the pre-Civil War era.
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Twelve-year-old William uses the magic token to return, through the toy castle in his attic, to the medieval land of Sir Simon, which is now menaced by a skeleton ship bearing a plague of ravenous rats.
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