The first non-fiction book from the author of international bestselling novels The Tattooist of Auschwitz and Cilka's Journey.

In Stories Of Hope, Heather Morris will explore the art of listening - a skill she employed when she first met Lale Sokolov, the Tattooist of Auschwitz. It was her ability to listen that led Lale to entrust Heather with his story, which she told as the novel The Tattooist Of Auschwitz. Now she shares her story of how she learned to listen.

Heather grew up on a farm in rural New Zealand. On her way back across the paddocks from school, she would visit her great-grandfather and listen to his experiences of war - stories he told only Heather. From a very young age, she learned that people would share their most sacred and intimate stories with her, if she stopped and listened to them. Stories Of Hope will examine and explore Heather's journey, in the form of a series of tales of the remarkable people she has met, the extraordinary stories they have shared with her, and the lessons they hold for us all.

The Ven Archdeacon Professor Emeritus Peter Tshobisa Mtuze is a poet, priest and academic. He has worked as an interpreter in the law courts of the old South Africa, as a radio announcer, a salesperson for a publishing company, a civil servant in the homeland government structures, a lecturer at UNISA, and as Editor in Chief of the Greater Dictionary of isiXhosa at Fort Hare. He then joined Rhodes University as Professor and Head of the isiXhosa Department, and he also served there as Deputy Campus Director and Deputy Registrar. From 1966 to date, he has published more than 30 books in many genres – novels, short stories, essays, drama, poetry, autobiography, and cultural and theological publications. Some of these works received awards and accolades from various institutions, and one of his novels is on the list of literary classics. Many of the titles are available in Braille and as audio recordings. Mtuze translated former President Nelson Mandela’s monumental autobiography Long Walk to Freedom into isiXhosa as Indlela ende eya enkululekweni. From a poverty-stricken farm background, he fought his way up to become one of the most accomplished academics, with a PhD from the University of Cape Town, a DTh from UNISA and a DLitt (Honoris Causa) from Rhodes University. Mtuze’s autobiography will serve as an inspiration to one and all.

From her childhood in Whitby to her long old age in Cambridge, the life of Margaret Storm Jameson (1891-1986), novelist, autobiographer, and political activist, spanned almost the whole of the twentieth century. A self-styled Little Englander by nature, and European by nurture, equally at home, or out of place, in the North Yorkshire moors and seascape of her birth, metropolitan London, rural France, and the capitals of Central Europe, she wrote of country, cities and the exile from both with equal knowledge and sympathy. Out of the changing landscapes of her present, she fashioned her vision of the future. The title of her autobiography, Journey from the North, is a simultaneous evocation and erasure of nostalgia for lost commonality, and in her long life as writer and activist, President of wartime PEN (the association of Poets, Essayist, Novelists) committed to the values of freedom and social justice, she fought to reconcile the conflicting forms of emergent modernity. Her own journey is the generic experience of twentieth-century Britain, and the England she urges on her contemporaries is one that shares the life and mind of Europe. The present book traces the history of that shared experience. It recovers, through her writing, the aspirations and the disappointments of the generation of socialists that was Class 1914. The soldiers returning from the front in 1918, to unemployment and the General Strike of 1926, fight in 1940 alongside Frenchmen, and against Germans, who are victims of the same system: class conflict, nationalist rivalries, imperialist ambition, all for Jameson have the same defining economic horizon. At the end of the odyssey the stark alternatives take shape: Washington or Moscow, the madness of American capitalism, or the oppression of Stalinist Communism.
Alongside the narrative of Jameson's life, and the experiences as daughter, wife, and mother that shaped her personality and her career, the book explores her concern with issues of culture and society, cultural memory, and cultural landscapes, her fascination with aesthetic form and the relation of writing to politics, her insight into the materiality of words, and her persistent probing of the nature of the writing subject. It draws on unpublished archive material and brings new research on neglected areas of cultural history into conjunction with literary-critical analyses of Jameson's novels and studies of her journalism and essays. There is an extensive Bibliography of her work.

Emily Bronte occupies a special place in the English literary canon. And rightly so: the incomparable Wuthering Heights is a novel that has bewitched us for almost 200 years, and the character of Heathcliff is, perhaps, the ultimate romantic hero - and villain. But Emily herself remains an enigmatic figure, often portrayed as awkward, as a misanthrope, as "no normal being". That's the conventional wisdom on Emily as a person, but is it accurate, is it fair? In this biography with a twist, Claire O'Callaghan conjures a new image of Emily and rehabilitates her reputation by exploring the themes of her life and work - her feminism, her passion for the natural world - as well as the art she has inspired, and even the "fake news" stories about her. What we discover is that she was, in fact, a thoroughly modern woman. And now, in the 21st century, it's time for the real Emily Bronte to please stand up.

'I seem to have banged on this year rather more than usual. I make no apology for that, nor am I nervous that it will it make a jot of difference. I shall still be thought to be kindly, cosy and essentially harmless. I am in the pigeon-hole marked 'no threat' and did I stab Judi Dench with a pitchfork I should still be a teddy bear.'

Alan Bennett's third collection of prose Keeping On Keeping On follows in the footsteps of the phenomenally successful Writing Home and Untold Stories, each published ten years apart. This latest collection contains Bennett's peerless diaries 2005 to 2015, reflecting on a decade that saw four premieres at the National Theatre (The Habit of Art, People, Hymn and Cocktail Sticks), a West End double-bill transfer, and the films of The History Boys and The Lady in the Van.

There's a provocative sermon on private education given before the University at King's College Chapel, Cambridge, and 'Baffled at a Bookcase' offers a passionate defence of the public library. This is an engaging, humane, sharp, funny and unforgettable record of life according to the inimitable Alan Bennett.

In the tradition of "The Glass Castle," two sisters confront schizophrenia in this poignant literary memoir about family and mental illness. Through stunning prose and original art, "The Memory Palace" captures the love between mother and daughter, the complex meaning of truth, and family's capacity for forgiveness.
"People have abandoned their loved ones for much less than you've been through," Mira Bartok is told at her mother's memorial service. It is a poignant observation about the relationship between Mira, her sister, and their mentally ill mother. Before she was struck with schizophrenia at the age of nineteen, beautiful piano protege Norma Herr had been the most vibrant personality in the room. She loved her daughters and did her best to raise them well, but as her mental state deteriorated, Norma spoke less about Chopin and more about Nazis and her fear that her daughters would be kidnapped, murdered, or raped.
When the girls left for college, the harassment escalated--Norma called them obsessively, appeared at their apartments or jobs, threatened to kill herself if they did not return home. After a traumatic encounter, Mira and her sister were left with no choice but to change their names and sever all contact with Norma in order to stay safe. But while Mira pursued her career as an artist--exploring the ancient romance of Florence, the eerie mysticism of northern Norway, and the raw desert of Israel--the haunting memories of her mother were never far away.
Then one day, a debilitating car accident changes Mira's life forever. Struggling to recover from a traumatic brain injury, she was confronted with a need to recontextualize her life--she had to relearn how to paint, read, and interact with the outside world. In her search for a way back to her lost self, Mira reached out to the homeless shelter where she believed her mother was living and discovered that Norma was dying.
Mira and her sister traveled to Cleveland, where they shared an extraordinary reconciliation with their mother that none of them had thought possible. At the hospital, Mira discovered a set of keys that opened a storage unit Norma had been keeping for seventeen years. Filled with family photos, childhood toys, and ephemera from Norma's life, the storage unit brought back a flood of previous memories that Mira had thought were lost to her forever.

Ernest Hemingway nearly defined machismo for many American men of the twentieth century. Yet, in recent years critics have discerned an "androgynous" sexuality beneath the surface stoicism of Hemingway's heroes. This study breaks new ground by examining the profoundly submissive and masochistic posture toward women exhibited by many of Hemingway's heroes, from Jake Barnes in "The Sun Also Rises "to David Bourne in "The Garden of Eden," The discussion draws on the ideas of authors as diverse as Sacher-Masoch, Freud, Deleuze, and others, and reveals that despite Hemingway's rugged and hypermasculine image, a "masochistic aesthetic" informs many of the texts. This accessible treatment of a complex subject will appeal to readers with an interest in Hemingway, gender issues, and American literature.

Revisionary Narratives examines the historical and formal evolutions of Moroccan women's auto/biography in the last four decades, particularly its conflation with testimony and its expansion beyond literary texts. The book analyzes life narratives in Arabic, colloquial Moroccan Darija, French, and English in the fields of prison narratives, visual arts, theater, and digital media. The various case studies highlight narrative strategies women use to relate their experiences of political violence, migration, displacement, and globalization, while engaging patriarchal and (neo)imperial norms and practices. Using a transdisciplinary interpretative lens, the analyses focus on how women authors, artists, and activists collapse the boundaries between autobiography, biography, testimony, and sociopolitical commentary to revise dominant conventions of authorship, transgress oppressive definitions of gender roles and relations, and envision change. Revisionary Narratives marks auto/biography and testimony as a specific field of inquiry within the study of women's postcolonial cultural productions in the Moroccan and, more broadly, the Maghrebi and Middle Eastern contexts.

An invaluable guide to the art and mind of Virginia Woolf, "A Writer's Diary" was drawn by her husband from the personal record she kept over a period of twenty-seven years. Included are entries that refer to her own writing and those that are clearly writing exercises, accounts of people and scenes relevant to the raw material of her work, and finally, comments on books she was reading. The first entry is dated 1918 and the last, three weeks before her death in 1941. Between these points of time unfolds the private world - the anguish, the triumph, the creative vision - of one of the great writers of our century.

Now nearing ninety, Hall delivers a new collection of self-knowing, fierce, and funny essays on aging, the pleasures of solitude, and the sometimes astonishing freedoms arising from both. He intersperses memories of exuberant days - as in Paris, 1951, with a French girl memorably inclined to say, "I couldn't care less" - with writing, visceral and hilarious, on what he has called the "unknown, unanticipated galaxy" of extreme old age. "Why should a nonagenarian hold anything back?" Hall answers his own question by revealing several vivid instances of "the worst thing I ever did,' and through equally uncensored tales of literary friendships spanning decades, with James Wright, Richard Wilbur, Seamus Heaney, and other luminaries. Cementing his place alongside Roger Angell and Joan Didion as a generous and profound chronicler of loss, Hall returns to the death of his beloved wife, Jane Kenyon, in an essay as original and searing as anything he's written in his extraordinary literary lifetime.

Literary museums today must respond to new challenges; the traditional image of the author's home museum as a sacred place of literary pilgrimage centered around a national hero has been questioned, and literary museums have begun to develop new strategies centered not only on biography, but also literary texts, imagined spaces, different readers, historical contexts, architectural concepts, and artistic interventions. As this volume shows, the changing of spaces asks how literary museums create new ways of interlinking real and literary spaces, texts, objects, readers, and tourists.

Counterculture icon and best-selling author of the anti-authoritarian novels One Flew Over the Cuckoo's Nest and Sometimes a Great Notion, Ken Kesey said he was ""too young to be a beatnik and too old to be a hippie."" It's All a Kind of Magic is the first biography of Kesey. It reveals a youthful life of brilliance and eccentricity that encompassed wrestling, writing, magic and ventriloquism, CIA-funded experiments with hallucinatory drugs, and a notable cast of characters that would come to include Wallace Stegner, Larry McMurtry, Tom Wolfe, Neal Cassady, Timothy Leary, the Grateful Dead, and Hunter S. Thompson. A child of the Depression, Kesey was born in 1935 to a migrant farming family that settled in Oregon during World War II. Based on meticulous research and many interviews with friends and family, Rick Dodgson's biography documents Kesey's early life, from his time growing up in Oregon as a farm boy and wrestling champion through his college years, his first drug experiences, and the writing of his most famous books. While a graduate student in creative writing at Stanford University in the late 1950s and early 1960s, Kesey worked the night shift at the Menlo Park Veterans Administration hospital, where he earned extra money taking LSD and other psychedelic drugs for medical studies. Soon he and his bohemian crowd of friends were using the same substances to conduct their own experiments, exploring the frontiers of their minds and testing the boundaries of their society. With the success of One Flew Over the Cuckoo's Nest, Kesey moved to La Honda, California, in the foothills of San Mateo County, creating a scene that Hunter S. Thompson remembered as the ""world capital of madness."" There, Kesey and his growing band of Merry Prankster friends began hosting psychedelic parties and living a ""hippie"" lifestyle before anyone knew what that meant. Tom Wolfe's book The Electric Kool-Aid Acid Test mythologised Kesey's adventures in the 1960s. Illustrated with rarely seen photographs, It's All a Kind of Magic depicts a precocious young man brimming with self-confidence and ambition who-through talent, instinct, and fearless spectacle-made his life into a performance, a wild magic act that electrified American and world culture.

Breaking Down Six Decades of James Bond Movies#1 New Release in Action & Adventure Movies & Video, and Movie Reference Hosts Mike Kalinowski and Brad Gilmore team up in this comprehensive examination of the longest running film series in the history of cinema. In Bond, James Bond, they explore the cinematic history of the James Bond collection to celebrate everything it got right and reflect on everything it got wrong. The complete cinematic biographies of James Bond. Since his initial portrayal by Sean Connery, James Bond has become a timeless icon worldwide. Now, comes the first-ever era-by-era breakdown of the much loved international spy-on and off the silver screen. Following the men who portrayed James Bond-Daniel Craig, Pierce Brosnan, Timothy Dalton, Roger Moore, and Sean Connery-readers will discover the characteristics that made him resonate, as well as the less glamorous relics that made him evolve. For fans of the Ian Fleming James Bond novels and movies. Cinephiles and fans can finally unscramble some of the best action movies of all time. Covering everything from cars to court cases, Bond, James Bond looks at the evolution of the 007 movies from all angles. Featuring bonus chapters on Bond women and musical scores, inside, you'll also find: The origins of 007 in the early James Bond books Off-screen politics, drama, and movements that shifted the series trajectory The "other" James Bond, comic books, and animated series If you're looking for Father's Day gifts, gifts for men, or James Bond gifts-and enjoyed books like Some Kind of Hero, Nobody Does it Better, or Shaken-then you'll love Bond, James Bond.

*A BOOK OF THE YEAR 2021 PICK IN THE TIMES, FINANCIAL TIMES, SPECTATOR AND NEW STATESMAN* From the award-winning author of Becoming Dickens and The Story of Alice comes a major new biography of Charles Dickens, tracing the year that would transform his life and times. The year is 1851. It's a time of radical change in Britain, when industrial miracles and artistic innovations rub shoulders with political unrest, poverty and disease. It's also a turbulent time in the private life of Charles Dickens, as he copes with a double bereavement and early signs that his marriage is falling apart. But this formative year will become perhaps the greatest turning point in Dickens's career, as he embraces his calling as a chronicler of ordinary people's lives, and develops a new form of writing that will reveal just how interconnected the world is becoming. The Turning Point transports us into the foggy streets of Dickens's London, closely following the twists and turns of a year that would come to define him, and forever alter Britain's relationship with the world. Fully illustrated, and brimming with fascinating details about the larger-than-life man who wrote Bleak House, this is the closest look yet at one of the greatest literary personalities ever to have lived. 'A startling and exciting writer' A. S. BYATT, SPECTATOR

Over more than four decades J.R.R. Tolkien's son and literary executor, Christopher Tolkien, published some twenty-four volumes of his father's work, much more than his father had succeeded in publishing during his own lifetime. Standing on the mountain of his son's colossal publishing effort and extraordinary scholarship, readers today are therefore able to survey and understand the vastness of the landscape of Tolkien's legendarium. This collection of essays by world-renowned scholars, together with family reminiscences, sheds new light on J.R.R. Tolkien's work, his son Christopher's unique gifts in communicating and interpreting that work and the debt owed to Christopher by the many Tolkien scholars who were privileged to work with him. What was Tolkien's intended ending for 'The Lord of the Rings'? Did it leave echoes in the stripped-down version that was actually published? What was the audience's response to the first ever adaptation of 'The Lord of the Rings' - a radio dramatization that has now been deleted forever from the BBC's archives? What was the significance of the extraordinary array of doorways which confronted the hobbits as they journeyed through Middle-earth? The book is illustrated with colour reproductions of J.R.R. Tolkien's manuscripts, maps, drawings and letters and, with the kind permission of his estate, photographs of Christopher Tolkien and extracts from his works, some of which have never been seen before, making this volume essential reading for Tolkien scholars, readers and fans.

SHORTLISTED FOR THE COSTA BIOGRAPHY AWARD 2019 'This is a book of wonders' Sunday Times 'Spellbinding and intelligent' Financial Times 'Extraordinary and engrossing' Spectator It was the most extraordinary year. In a book brimming with poetry and nature writing, biography and adventure, Adam Nicolson walks in the footsteps of Coleridge, Wordsworth and his sister Dorothy during the months in the late 1790s they spent together in the Quantock Hills. Out of it came The Ancient Mariner, 'Kubla Khan', Lyrical Ballads and 'Tintern Abbey'; Coleridge's unmatched hymns to friendship and fatherhood; Wordsworth's revolutionary verses and paeans to the unity of soul and cosmos, love and understanding. In short, a poetry that sought to remake the world.

A riveting look into the world of James Bond and his creator, published on the centenary of Ian Fleming's birth.
In "For Your Eyes Only," Ben Macintyre reveals where the world of Ian Fleming ends and the world of James Bond begins. Macintyre looks at the actual people on whom the writer based his fictional creations--friends, colleagues, lovers, and, of course, the notorious villains. Exploring the tradition of spy fiction past and present, with specific attention to the Cold War, Macintyre explains how Bond was based on the realities--and fantasies--of Fleming's life as a wartime spymaster and peacetime bon vivant.
Stylishly illustrated, "For Your Eyes Only" features a collector's dream of gadgets, costumes, props, and storyboards from the films--Daniel Craig's bloodstained shirt from Casino Royale, the Aston Martin DB5, complete with weaponry--as well as memorabilia from Fleming's personal archive: his smoking jacket, the manuscript for "Casino Royale," his golden typewriter, his guns, and much more.

This book is available as an Open Access ebook under a CC-BY_NC-ND licence. This is a comprehensive and definitive study of the Man Booker Prize-winning novelist, Howard Jacobson. It offers lucid, detailed and nuanced readings of each of Jacobson's novels, and makes a powerful case for the importance of his work in the landscape of contemporary fiction. Focusing on the themes of comedy, masculinity and Jewishness, the book emphasises the richness and diversity of Jacobson's work. Often described by others as 'the English Philip Roth' and by himself as 'the Jewish Jane Austen', Jacobson emerges here as a complex and often contradictory figure: a fearless novelist; a combative public intellectual; a polemical journalist; an unapologetic elitist and an irreverent outsider; an exuberant iconoclast and a sombre satirist. Never afraid of controversy, Jacobson tends to polarise readers; but love him or hate him, he is difficult to ignore. This book gives him the thorough consideration and the balanced evaluation that he deserves. -- .

Oliver Goldsmith arrived in England in 1756 a penniless Irishman. He toiled for years in the anonymity of Grub Street-already a synonym for impoverished hack writers-before he became one of literary London's most celebrated authors. Norma Clarke tells the extraordinary story of this destitute scribbler turned gentleman of letters as it unfolds in the early days of commercial publishing, when writers' livelihoods came to depend on the reading public, not aristocratic patrons. Clarke examines a network of writers radiating outward from Goldsmith: the famous and celebrated authors of Dr. Johnson's "Club" and those far less fortunate "brothers of the quill" trapped in Grub Street. Clarke emphasizes Goldsmith's sense of himself as an Irishman, showing that many of his early literary acquaintances were Irish emigres: Samuel Derrick, John Pilkington, Paul Hiffernan, and Edward Purdon. These writers tutored Goldsmith in the ways of Grub Street, and their influence on his development has not previously been explored. Also Irish was the patron he acquired after 1764, Robert Nugent, Lord Clare. Clarke places Goldsmith in the tradition of Anglo-Irish satirists beginning with Jonathan Swift. He transmuted troubling truths about the British Empire into forms of fable and nostalgia whose undertow of Irish indignation remains perceptible, if just barely, beneath an equanimous English surface. To read Brothers of the Quill is to be taken by the hand into the darker corners of eighteenth-century Grub Street, and to laugh and cry at the absurdities of the writing life.