Is Laurence Sterne one of the great Christian apologists? Ryan Stark recommends him as such, perhaps to the detriment of the parson's roguish reputation. The book's aim, however, is not to dispel roguishness but rather to discern the theological motives behind Sterne's comic rhetoric, from Tristram Shandy and the sermons to A Sentimental Journey. To this end, Stark reveals a veritable avalanche of biblical themes and allusions to be found in Sterne, often and seemingly awkwardly in the middle of sex jokes, and yet the effect is not to produce irreverence. On the contrary, we find an irreverently reverent apologetic, Stark argues, and a priest who knows how to play gracefully with religious ideas. Through Sterne, in fact, we might rethink humour's role in the service of religion.

Rev. Henry Maxwell, speaking slowly and determinedly, yet not fully realizing the implications of what lay ahead of him, repeated his astounding proposition, "I want volunteers from First Church who will pledge themselves, earnestly and honestly, for an entire year; not to do anything without first asking the question, 'What would Jesus do?'"Maxwell never dreamed that among those who responded would be the most influential members of his congregation, the wealthy heiress with her millions at stake, the newspaper editor with his job on the line, the president of the local college, the town beauty. But together they pledged themselves to a new step of faith that would change, not just a handful of people, but an entire town-for good.This timeless classic by Charles Sheldon has blessed millions of people around the world who have asked the vital question, "What does it really mean to be a Christian?"

It's summer and a young man walks through the gates of a luxurious mansion in the South of France. At the dinner table, the Blake siblings await him- Lily, his carefree friend from university; Dot, the rebellious younger sister; and Felix - handsome, charismatic and guarded.

Between sun-drenched days spent lounging by the pool and nights blurring into endless, opulent parties, the man is captivated by Felix's restless allure. As his desire grows, the chance to become part of the family and their world of money and power starts to feel within reach.

But the idyllic haze of summer fades as they return to London and the cracks in the Blakes' careful fa ade begin to show. With the two men tormented by demons of their own, their bond is increasingly tested and pulled apart at the seams. Their secrets and the choices they make will change not only their lives, but the future of those around them.

From 'one of the brightest, most pleasure-giving writers at work today' (Jeffrey Eugenides), a visionary tale inspired by the life of the 20th century film director G.W. Pabst, who left Europe for Hollywood to resist the Nazis and then returned to his homeland with his wife and young son and began making films for the German Reich.

An artist's life, a pact with the devil, a novel about the dangerous illusions of the silver screen.

G.W. Pabst, one of cinema's greatest, perhaps the greatest director of his era: when the Nazis seized power he was filming in France, to escape the horrors of the new Germany he flees to Hollywood. But under the blinding California sun, the world-famous director suddenly looks like a nobody. Not even Greta Garbo, who he made famous, can help him. And thus, almost through no fault of his own, he finds himself back in his homeland of Austria, which is now called Ostmark. The returning family is confronted with the barbaric nature of the regime. But Goebbels, the minister of propaganda in Berlin, wants the film genius, he won't take no for an answer and makes big promises. While Pabst still believes that he will be able to resist these advances, that he will not submit to any dictatorship other than art, he has already taken the first steps into a hopeless entanglement.

Daniel Kehlmann's novel about art and power, beauty and barbarism is a triumph. The Director shows what literature is capable of.

Translated by Constance Garnett with an Introduction and Notes by Dr Keith Carabine, University of Kent at Canterbury. Crime and Punishment is one of the greatest and most readable novels ever written. From the beginning we are locked into the frenzied consciousness of Raskolnikov who, against his better instincts, is inexorably drawn to commit a brutal double murder. From that moment on, we share his conflicting feelings of self-loathing and pride, of contempt for and need of others, and of terrible despair and hope of redemption: and, in a remarkable transformation of the detective novel, we follow his agonised efforts to probe and confront both his own motives for, and the consequences of, his crime. The result is a tragic novel built out of a series of supremely dramatic scenes that illuminate the eternal conflicts at the heart of human existence: most especially our desire for self-expression and self-fulfilment, as against the constraints of morality and human laws; and our agonised awareness of the world's harsh injustices and of our own mortality, as against the mysteries of divine justice and immortality.