This, the second volume of Alan Ross's autobiography, deals with his postwar life as cricket correspondent, publisher, man of letters and racehorse owner. The narrative is richly peopled: Johnny Minton, Keith Vaughan, Agatha Christie, Gavin Maxwell, Wilfred Thesiger, Cyril Connolly, T. C. Worsley, William Plomer, Terence Rattigan, William Sansom are just some who are memorably characterized.

William Boyd has written of Alan Ross, 'He was the opposite of parochial, his interests were wide and not elitist, his enthusiasms were carefully hedonistic. He was a very fine writer of prose - his two volumes of memoirs are small classics - and his poetry is limpid and evocative.' As a beguiling bonus, each chapter of Coastwise Lights is eked out with a small and apt selection of his poems.

The first autobiographical volume, "Blindfold Games," is also available in Faber Finds as will be many other of his titles.

'A true celebration of friendship and talent as well as the sports - football, cricket, horse-racing - which have engaged him in the last four decades.' Philip Oakes, "New Statesman"

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'His obvious affection for the friends who flit through this beautifully written sketchbook is masked by a writer's curiosity and detached amusement.' Euan Cameron, "Independent"

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'A fascinating history of metropolitan literary life from the end of the war.' Chris Peachment, "The Times"

In 1953, Ian Fleming's literary sensation James Bond emerged onto the world's stage. Nearly seven decades later, he has become a multi-billion-pound film franchise, now equipped with all the gizmos of the modern world. Yet Fleming's creation, who battled his way through the fourteen novels from 1953 to 1966, was a maverick - a man out of place. Bond even admits it, wishing he was back in the real war ... the Second World War. Indeed, the thread of the Second World War runs through the whole of the Bond series, and many were inspired by the real events and people Fleming came across during his time in Naval Intelligence. In Ian Fleming's War, Mark Simmons explores these remarkable similarities, from Fleming's scheme to capture a German naval codebook that appears in Thunderball as Plan Omega, to the exploits of 30 Assault Unit, the commando team he helped to create, which inspired Moonraker.

"A shapely experiment, mixing memoir with biography . . . [Elizabeth Bishop] fuses sympathy with intelligence, sending us back to Bishop's marvelous poems." -- Wall Street Journal Since her death in 1979, Elizabeth Bishop, who published only one hundred poems in her lifetime, has become one of America's most revered poets. And yet she has never been fully understood as a woman and artist. Megan Marshall makes incisive and moving use of a newly discovered cache of Bishop's letters to reveal a much darker childhood than has been known, a secret affair, and the last chapter of her passionate romance with Brazilian modernist designer Lota de Macedo Soares. By alternating the narrative line of biography with brief passages of memoir, Megan Marshall, who studied with Bishop in her storied 1970s poetry workshop at Harvard, offers the reader an original and compelling glimpse of the ways poetry and biography, subject and biographer, are entwined. "Marshall is a skilled reader who points out the telling echoes between Bishop's published and private writing. Her account is enriched by a cache of revelatory, recently discovered documents . . . Marshall's narrative is smooth and brisk: an impressive feat." -- New York Times Book Review

'An absolute belter of a biography' MARINA HYDE A Times Literary Non-Fiction Book of the Year 2022 An LA Times Best Book of the Year 2022 An intimate, revealing and profoundly moving biography of Jean Rhys, acclaimed author of Wide Sargasso Sea. An obsessive and troubled genius, Jean Rhys is one of the most compelling and unnerving writers of the twentieth century. Memories of a conflicted Caribbean childhood haunt the four fictions that Rhys wrote during her extraordinary years as an exile in 1920s Paris and later in England. Rhys's experiences of heartbreak, poverty, notoriety, breakdowns and even imprisonment all became grist for her writing, forming an iconic 'Rhys woman' whose personality - vulnerable, witty, watchful and angry - was often mistaken, and still is, for a self-portrait. Many details of Rhys's life emerge from her memoir, Smile Please and the stories she wrote throughout her long and challenging career. But it's a shock to discover that no biographer - until now - has researched the crucial seventeen years that Rhys spent living on the remote Caribbean island of Dominica; the island which haunted Rhys's mind and her work for the rest of her life. Luminous and penetrating, Seymour's biography reveals a proud and fiercely independent artist, one who experienced tragedy and extreme poverty, alcohol and drug dependency, romantic and sexual turmoil - and yet was never a victim. I Used to Live Here Once enables one of our most excitingly intuitive biographers to uncover the hidden truth about a fascinatingly elusive woman. The figure who emerges for Seymour is powerful, cultured, self-mocking, self-absorbed, unpredictable and often darkly funny. Persuasive, surprising and compassionate, this unforgettable biography brings Jean Rhys to life as never before.

Zelda Fitzgerald, along with her husband F. Scott Fitzgerald, is remembered above all else as a personification of the style and glamour of the roaring twenties - an age of carefree affluence such as the world has not seen since. But along with the wealth and parties came a troubled mind, at a time when a woman exploiting her freedom of expression was likely to attract accusations of insanity. After 1934 Zelda spent most of her life in a mental institution; outliving her husband by few years, she died in a fire as she was awaiting electroconvulsive therapy in a sanatorium. Zelda's story has often been told by detractors, who would cast her as a parasite in the marriage - most famously, Ernest Hemingway accused her of taking pleasure in blunting her husband's genius; when she wrote her autobiographical novel, Fitzgerald himself complained she had used his material. But was this fair, when Fitzgerald's novels were based on their life together? Sally Cline's biography, first published in 2003, makes use of letters, journals, and doctor's records to detail the development of their marriage, and to show the collusion between husband and doctors in a misdirected attempt to 'cure' Zelda's illness. Their prescription - no dancing, no painting, and above all, no writing - left her creative urges with no outlet, and was bound to make matters worse for a woman who thrived on the expression of allure and wealth.

First published in 1989 Philip Larkin, the Marvell Press, and Me is the story of how this small publishing company became a chapter in literary history when, in 1955, the then novice publishers, of which Jean Hartley was one, were entrusted with the manuscript of Larkin's The Less Deceived. The Less Deceived, Larkin's second collection, contained the mature Philip Larkin style - that of a detached observer of what Jean Hartley referred to as 'ordinary people doing ordinary things' - the virtues of which came to be associated with The Movement, the post-war generation of poets that used plain language and traditional forms to address everyday life in Britain. The themes of The Less Deceived resonated with readers and it became one of the most outstanding collections of 1955. Philip Larkin, the Marvell Press, and Me charts that progress and introduces the reader to the real Philip Larkin. 'Jean Hartley's story is a vital piece of evidence for anyone curious about Larkin's life.' Andrew Motion, Observer.

This collection represents some of the best recent critical writing on Edmund Spenser, a major Renaissance English poet. The essays cover the whole of Spensers work, from early literary experiments such as The Shepeardes Calendar, to his unfinished crowning work,The Fairie Queene. The introduction provides an overview of critical responses to Spenser, setting his work and the debates which it has generated in their perspective contexts: new historicist, post-structural, psychoanalytic and feminist. His study also covers the critical responses of leading British, Irish and American scholars.

This book, the second of two volumes anticipating the bicentenary of the birth of William Makepeace Thackeray in 1811, details not only the author's life, but also the cosmopolitan and literary worlds inhabited by his two daughters, Minny and Annie. Memory and Legacy continues the family saga long after Thackeray's death, tracing the later lives of his two daughters and their marriages. Minny would marry Leslie Stephen, later father of Virginia Woolf, but would die in premature labour at the age of just thirty-five. With her death, the narrative takes as its focus Thackeray's elder daughter Annie, as she overcomes the loss of her sister and goes on to build a life of her own. Encouraged in early years by her father, Annie would herself emerge as a successful novelist, though one always living, albeit willingly, within her father's shadow. In particular, she took responsibility for guarding and shaping her father's legacy until her own death in 1919. Drawing extensively on the letters, diaries, journals and notebooks of the Thackerays and their circle, Aplin sheds light on this remarkable man's family, and the effect that his life, death and legacy had on those closest to him. The first biography of the Thackeray family circle since that of Gordon Ray in 1958, Aplin's two-part study incorporates significant new documentary evidence, some of it never previously seen by Thackeray scholars, and includes the fullest and frankest examination of the lives of Thackeray's two daughters yet published. Illustrated with portraits, group photographs, and original sketches by the Thackerays, this book is a wholly new reappraisal of Thackeray's life, writing, and legacy through the lens that truly defined him - his family. It will appeal not just to those interested in Thackeray and the Victorians, but also to readers of biography, women's studies and memoirs, and to followers of Viriginia Woolf and the Bloomsbury Group.

First published in 1957, this book explores what remained of Joyce's background, not only in Ireland but in those cities abroad where his books were written. With the co-operation of those who knew the author, including his brother, much new material was brought together to shed new light on Joyce's life, character and methods of writing. The author traces Joyce, and his writings, from his beginnings in Ireland, through Zurich, London and Paris, to his difficult final year at Vichy in 1940. Previously unpublished letters illustrate his relationships with important figures of the period like Ezra Pound, T.S. Eliot and H.G. Wells. This title will be of interest to student of literature.

Ian Hamilton wrote two books on J. D. Salinger. Only one, this one, was published. The first, called J." D. Salinger: A Writing Life," despite undergoing many changes to accommodate Salinger was still victim of a legal ban. Salinger objected to the use of his letters, in the end to any use of them. The first book had to be shelved. With great enterprise and determination however, Ian Hamilton set to and wrote this book which is more, much more, than an emasculated version of the first.

For someone whose guarding of his privacy became so fanatical it is perhaps surprising how much Ian Hamilton was able to disinter about his earlier life. Until Salinger retreated completely into his bolt-hole outside Cornish in New Hampshire many aspects of his life, though it required assiduousness on the biographer's part, could be pieced together. A surprising portrait emerges; although there were early signs of renunciation, there were moments when his behaviour could almost be described as gregarious. The trail Hamilton follows is fascinating, and the story almost has the lineaments of a detective mystery with the denouement suitably being played out in Court.

'As highly readable and as literate an account of Salinger's work from a biographical perspective as we are likely to receive' "The Listener"

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'A sophisticated exploration of Salinger's life and writing and a sustained debate about the nature of literary biography, its ethical legitimacy, its aesthetic relevance to a serious reading of a writer's books' Jonathan Raban, "Observer"

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'Hamilton's book is as devious, as compelling, and in a covert way, as violent, as a story by Chandler' Victoria Glendinning, "The Times"

Ford Madox Ford is best known for two fictional masterpieces: The Good Soldier and the Great War tetralogy, Parade's End. Indeed, it was reading the former that first persuaded Alan Judd to write this superb biography. Graham Greene once strikingly pronounced, 'There is no novelist of this century more likely to live than Ford Madox Ford.' Even if that is debatable there is no denying his importance in the literary firmament of the first thirty years of the twentieth-century. He founded the English Review which can claim to have discovered D. H. Lawrence, Ezra Pound and Wyndham Lewis. In the 1920s he founded the Transatlantic Review which published work by James Joyce, Ezra Pound, e.e. cummings, Gertrude Stein and Jean Rhys. Two of Ford Madox Ford's passions were conversation and women. It is often said he only seduced the latter to carry on the former! Alan Judd's biography is a brilliant rehabilitation of a literary figure who has still not been accorded his rightful place. On first publication it received dazzling reviews. 'It is a marvellous book, intelligent, sympathetic, comprehensive, worthy of Ford.' Allan Massie, Sunday Telegraph 'Mr Judd never bores. He is shrewd about the novel in general and Ford in particular.' Gore Vidal, Times Literary Supplement 'Indulgent, energetic, and immensely readable.' Richard Holmes, The Times 'Alan Judd has been drawn into Ford's embattlement and defends him staunchly and imaginatively.' A. S. Byatt, Guardian 'What Judd rightly emphasises is that Ford was a giver, believing that the preservation and furtherance of artistic talent was his permanent responsibility.' Frank Kermode, London Review of Books

"Inventing Edward Lear is an exceptional, valuable, original study, presenting new materials on aspects of Lear's life and work." -Jenny Uglow, author of Mr. Lear and The Lunar Men Edward Lear wrote some of the best-loved poems in English, including "The Owl and the Pussycat," but the father of nonsense was far more than a poet. He was a naturalist, a brilliant landscape painter, an experimental travel writer, and an accomplished composer. Sara Lodge presents the fullest account yet of Lear's passionate engagement in the intellectual, social, and cultural life of his times. Lear had a difficult start in life. He was epileptic, asthmatic, and depressive, but even as a child a consummate performer who projected himself into others' affections. He became, by John James Audubon's estimate, one of the greatest ornithological artists of the age. Queen Victoria-an admirer-chose him to be her painting teacher. He popularized the limerick, set Tennyson's verse to music, and opened fresh doors for children and adults to share fantasies of magical escape. Lodge draws on diaries, letters, and new archival sources to paint a vivid picture of Lear that explores his musical influences, his religious nonconformity, his relationship with the Pre-Raphaelite movement, and the connections between his scientific and artistic work. He invented himself as a character: awkward but funny, absurdly sympathetic. In Lodge's hands, Lear emerges as a dynamic and irreverent polymath whose conversation continues to draw us in. Inventing Edward Lear is an original and moving account of one of the most intriguing and creative of all Victorians.

Modern biographies of William Shakespeare abound; however, close scrutiny of the surviving records clearly show that there is insufficient material for a cradle to grave account of his life, that most of what is written about him cannot be verified from primary sources, and that Shakespearean biography did not attain scholarly or academic respectability until long after Samuel Schoenbaum published William Shakespeare A Documentary Life in 1975. This study begins with a short survey of the history and practice of biography and then surveys the very limited biographical material for Shakespeare. Although Shakespeare gradually attained the status as a national hero during the seventeenth and eighteenth centuries, there were no serious attempts to reconstruct his life. Any attempt at an account of his life or personality amounts, however, merely to "biografiction". Modern biographers differ sharply on Shakespeare's apparent relationships with Southampton and with Jonson, which merely underlines the fact that the documentary record has to be greatly expanded through contextual description and speculation in order to appear like a Life of Shakespeare.

Keith Douglas was almost certainly the greatest poet of the Second World War. He was killed in Normandy three days after D-Day. He was only twenty-four. His short life was one of contradictions: the gifted artist and romantic, always in love with the wrong girl also enjoyed soldiering and was quick to volunteer at the beginning of the war. The brave and resourceful tank commander with the Sherwood Rangers in the Western Desert, in the campaign of which his Alemein to Zem Zem is the classic account, was also an outspoken critic of the military establishment and often in trouble with his superiors. There was always another side to Keith Douglas: difficult, even arrogant, he was at the same time, as Desmond Graham, observes in his original preface, 'generous, sensitive to the difficulties of others, remorselessly honest, energetic, and passionately, innocently open.' Douglas made in his brief life some friends who never forgot him, and whose memories of him have contributed much to this book. For this biography, Desmond Graham had access to much private and unpublished material. From that, interviews, Keith Douglas' own poems, letters and drawings emerges a definitive biography. 'an almost unqualified success . . . Mr Graham has used his material with great skill and tact.' Roy Fuller 'It is difficult to imagine a better biography than this being written about Keith Douglas . . . Desmond Graham provides us with an astonishing amount of information.' Stephen Spender 'extremely well-done . . It is written with authority and it will be standard.' Peter Levi 'sumptuously evocative' John Carey

Mervyn Peake (1911-1968) was a painter, poet, illustrator, dramatist, and most famously the creator of the "Gormenghast "trilogy. Very much his own man, and charmingly so, neither as an artist nor as a painter did he belong to any school or movement; his work was distinctive and peculiar to him. He was not a loner though, his friends included Graham Greene, Augustus John, Dylan Thomas and Walter de la Mare. His marriage to one of his students, Maeve Gilmore was a happy one, too. Parkinson's disease tragically curtailed his life.

Malcolm Yorke's biography was written with the full co-operation of the Peake family who granted him access to letters, photographs and drawings never previously published.

'Yorke, aware of the many interpretations that have been imposed on Peake's trilogy, does not burden the reader with more. He catches, instead, through apt summary, the wide range of opinion on Peake's achievement, as poet, novelist, painter and illustrator.' Frances Spalding, "Times Literary Supplement "

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'But his book goads the reader to search out Peake, and what more could that unique man or his family ask?' John McEwen, "Spectator"

'Most valuably, the book is generously illustrated with examples of the works discussed. There will never be a clearer explication of Peake's progress as a visual artist.' Michael Swanwick, "Washington Post "

One of Germany's greatest living writers offers up an analysis (and samples) of his failed projects. "My dear fellow artists, whether writers, actors, painters, film-makers, singers, sculptors, or composers, why are you so reluctant to talk about your minor or major failures?" With that question, Hans Magnus Enzensberger-the most senior among Germany's great writers-begins his amusing ruminations on his favorite projects that never saw the light of day. There is enlightenment in every embarrassing episode, he argues, and while artists tend to forget their successes quickly, the memory of a project that came to nothing stays in the mind for years, if not decades. Triumphs hold no lessons for us, but fiascos can extend our understanding, giving insight into the conditions of production, conventions, and practices of the industries concerned, and helping novices to assess the snares and minefields in the industry of their choice. What's more, Enzensberger argues, flops have a therapeutic effect: They can cure, or at least alleviate, the vocational illnesses of authors, be it the loss of control or megalomania. In Gone but Not Forgotten, Enzensberger looks back at his uncompleted experiments not just in the world of books but also in cinema, theater, opera, and journal publishing, and shares with us a "store of ideas" teeming with sketches of still-possible projects. He also reflects on the likely reasons for these big and small defeats. Interspersed among his ruminations are excerpts from those experiments, giving readers a taste of what we missed. Together, the pieces in this volume build a remarkable picture of a versatile genius's range of work over more than half a century and make us reflect on the very nature of success and failure by which we measure our lives.

Boswell's life of Johnson is incontestably one of the great biographies in the English language. And yet not even it can give a completely rounded portrait. It is for that reason Hugh Kingsmill hit upon the idea of assembling this alternative anthology: Samuel Johnson as recalled diversely by those including Johnson himself, Mrs Piozzi, Sir John Hawkins, Anna Seward (not flattering) and Miss Reynolds, Sir Joshua's sister. Here is an example from the latter: 'One Sunday morning, as I was walking with him in Twickenham meadows, he began his antics both with his feet and his hands, with the latter as if he was holding the reins of a horse like a jockey on full speed. But to describe the positions of his feet is a strange task; sometimes he would make the back part of his heels to touch, sometimes his toes, as he was aiming at making the form of a triangle, at least the two sides of one. Though indeed, whether these were his gestures on this particular occasion in Twickenham meadows I do not recollect, it is so long since, but I well remember that they were so extraordinary that men, women and children gathered round him laughing. At last we sat down on some logs of wood by the river side, and they nearly dispersed; when he pulled out of his pocket Grotius De Veritate Religionis, over which he seesawed at such a violent rate as to excite the curiosity of some people at distance to come and see what was the matter with him.' This is richly readable and informative volume offering an endlessly fascinating conspectus of the Great Man. It is being reissued at the same time as Hugh Kingsmill biography of Samuel Johnson.

Samuel Johnson was first published in 1934. It is being reissued to mark the 300th anniversary of Johnson's birth and the sixtieth anniversary of Hugh Kingsmill's death. In the words of Richard Ingrams, 'Samuel Johnson was the only biography of Kingsmill's written in a spirit of sympathy with his subject and it is for that reason the most successful of his books and must rank as one of the best short biographies of Johnson. Kingsmill had much in common with Johnson. He expressed himself best in company with others and found writing an arduous task; the circumstances of his life were unfortunate and he had the same habit as Johnson of almost courting discomfort.' Also being reissued at the same time is Hugh Kingsmill's anthology Johnson without Boswell.

Hugh Kingsmill should be better known. Here is a striking passage from Richard Ingrams' God's Apology. 'In Malcolm's (Muggeridge) study there was a row of books more thumbed and battered than the rest and a rather blurred photograph showing a man striding through a park, his arm swung forward, his air confident and jaunty. Malcolm called him Hughie. In his conversation he referred to him constantly, with great affection and in a manner quite unlike his usual rather disparaging one when talking of his friends. He seemed to be almost the only man in Malcolm's life of whom he had not a harsh word to say.' Hugh Kingsmill was a novelist, a biographer of note and a talker of outstanding verve and brilliance. He died in 1949 and to mark the sixtieth anniversary Faber Finds is reissuing Michael Holroyd's biography. It was Michael Holroyd's first book, originally published in 1964. 'A remarkably good book .' John Davenport, The Observer 'It is a positive pleasure to recommend Michael Holroyd's splendid biography of this exceptional personality.' Kay Dick, BBC 'The World of Books' 'A well-written study of a laughing, witty, clearly lovable man behind whose wreathed smiles despair lurked.' Anthony Hern, Evening Standard 'An admirably balanced and complete portrait, the criticism fair, the likeness true . . . I congratulate the author on a remarkably good book.' Hesketh Pearson, in a letter ' . . . impressively authoritative . . . entrancing and singularly profound.' William Gerhardie, The Spectator

A. E. Housman, romantic poet and classical scholar, is best-known as the author of A Shropshire Lad and the meticulous editor of Manilius, the Latin poet of astronomy. In this first full biography, Richard Perceval Graves convincingly reconciles the two apparently conflicting sides of Housman's personality, and reassesses the reputation of a man who was something of a mystery even to his closest friends. 'This is bound to become the standard life.' John Carey, Sunday Times 'Dispassionate and well-researched.' Philip Larkin, Guardian

The lyric perfection of the works of Alfred Tennyson, one of the greatest Victorian poets, and the apparent ease with which he wrote them, long obscured the disparity between the unruffled surface of many of his poems and his deeply disturbed life.

Somersby Rectory, where Tennyson was born, was made miserable by drunkenness, drug addiction, threats of violence, melodramatic disinheritances, and above all by the fear of madness. He found an anodyne for his unhappiness in the composition of poetry, and was so successful in this refuge from the bewildering complexities of his life that he eventually became Poet Laureate and the most famous of living writers.

Until he was forty years old the belief that he suffered from inherited epilepsy kept Tennyson unsettled, neurotic about money, immature in his relations with women, and apprehensive of marriage. It was a belief that gave shape to some of his finest poetry.

At the end of his life Tennyson's wife and son constructed a public facade for him of irreproachable normality and respectability. Robert Bernard Martin was the first biographer to go behind the mask of the troubled poet to investigate his black-tempered morbidity, and neurotic secrecy about his private life. More importantly, it often reveals the sources of the successes and failures of the foremost Victorian poet.

From many thousands of letters by Tennyson, his family, and his friends, as well as much other unpublished material, Robert Bernard Martin has distilled a sensitive and sympathetic portrait of Tennyson, both as his contemporaries saw him and as he was in private.

'Tennyson: The Unquiet Heart will stand as one of the great literary biographies of this century.' A. N. Wilson, "The Spectator"

The description 'definitive' is too easily used, but Donald Rayfield's biography of Chekhov merits it unhesitatingly. To quote no less an authority than Michael Frayn: 'With question the definitive biography of Chekhov, and likely to remain so for a very long time to come. Donald Rayfield starts with the huge advantage of much new material that was prudishly suppressed under the Soviet regime, or tactfully ignored by scholars. But his mastery of all the evidence, both old and new - a massive archive - is magisterial, his background knowledge of the period is huge; his Russian is sensitive to every colloquial nuance of the day, and his tone is sure. He captures a likeness of the notoriously elusive Chekhov which at last begins to seem recognisably human - and even more extraordinary.' Chekhov's life was short, he was only forty-four when he died, and dogged with ill-health but his plays and short stories assure him of his place in the literary pantheon. Here is a biography that does him full justice, in short, unapologetically to repeat that word 'definitive'. 'I don't remember any monograph by a Western scholar on a Russian author having such success. . . Nikita Mikhalkov said that before this book came out we didn't know Chekhov. . . The author doesn't invent, add or embellish anything . . . Rayfield is motivated by the Westerner's urge not ot hold information back, however grim it may be.' Anatoli Smelianski, Director of Moscow Arts Theatre School 'It is hard to imagine another book about Chekhov after this one by Donald Rayfield.' Arthur Miller, Sunday Times 'Donald Rayfield's exemplary biography draws on a daunting array of material inacessible or ignored by his predecessors.' Nikolai Tolstoy, The Literary Review 'Donald Rayfield, Chekhov's best and definitive biographer.' William Boyd, Guardian