First published in 1996, Robert Ferguson's controversial "Henrik Ibsen: A New Biography "is perhaps the most irreverent and critical of all the Ibsen biographies. Ferguson provides insight into Ibsen's personal life, his creative work, and the world in which he lived. He paints the portrait of a complex, emotionally tormented artist - not one who is necessarily likable, but one whom we can understand and appreciate.

Using previously unavailable material, including a letter in which Ibsen admits paternity of his illegitimate son, Ferguson chips through the hard enamel of Ibsen's public reputation. He details many of Ibsen's private traumas, such as how his inability to pay for the child's support very nearly landed him in jail, and shows the real impact of these experiences on Ibsen's growth, both as a man and as a playwright. The book clearly demonstrates that Ibsen was one of the great therapeutic artists.

"Henrik Ibsen: A New Biography" is a deeply researched, wide-ranging account of the man often called the founder of modern drama. At the time of its publication it polarised the critics and stirred up a great deal of debate. Essential reading for anyone interested in Ibsen and in the development of the modern theatre.

Erdmut Wizisla's groundbreaking work explores for the first time the important friendship between Walter Benjamin, the acclaimed critic and literary theorist, and Bertolt Brecht, one of the twentieth century's most influential theater artists and poets, during the crucial interwar years in Berlin. From the first meeting between Benjamin and Brecht to their experiences in exile, the events in this friendship are illuminated by personal correspondence, journal entries, and notes--including previously unpublished materials--from the friends' electric discussions of shared projects. In addition to exploring correspondence between the two, Wizisla presents documents by colleagues who shaped and shaded their relationship, including Margarete Steffin, Theodor Adorno, and Hannah Arendt. Wizisla shows us the fascinating ideological exchanges between Benjamin and Brecht, including the first account of Berlin Marxist journal planned for 1931. The Minutes of its meetings record the involvement of Benjamin and Brecht, and offer a window onto the discussions on literature and politics that took place under the increasing threat of the German left's political defeat. Wizisla's examination of the friendship between Benjamin and Brecht, two artists at the height of their creative powers during a time of great political crisis, throws light on nearly two decades of European intellectual life.

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.

Bringing together insights from masculinity studies and age studies, this open access book focuses on the gendered and relational perspectives in cultural representations of Alzheimer's disease. Combining a comparative and interdisciplinary approach, the authors analyse the interrelations between masculinities and representations of dementia from a wide range of cultural contexts to explore it as an intensely gendered and cultural disease. They examine memoir, film, poetry and prose fiction, and look at work from a wide range of authors, including Anne Carson, Jonathan Franzen and Philip Roth, to provide new insights into established narratives of dementia and explore the complex ways that the disease resists representation and narration and questions traditional views of selfhood and human development. The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the ERA Gender-Net+ Project MASCAGE, the University of Graz (Center for Inter-American Studies) and the Government of Styria, Austria.

'Amusing, charming, stimulating, urbane' - THE TIMES 'Revelatory' - GUARDIAN 'Restores Clive Bell vividly to life' - Lucasta Miller ______________ Clive Bell is perhaps better known today for being a Bloomsbury socialite and the husband of artist Vanessa Bell, sister to Virginia Woolf. Yet Bell was a highly important figure in his own right: an internationally renowned art critic who defended daring new forms of expression at a time when Britain was closed off to all things foreign. His groundbreaking book Art brazenly subverted the narratives of art history and cemented his status as the great interpreter of modern art. Bell was also an ardent pacifist and a touchstone for the Wildean values of individual freedoms, and his is a story that leads us into an extraordinary world of intertwined lives, loves and sexualities. For decades, Bell has been an obscure figure, refracted through the wealth of writing on Bloomsbury, but here Mark Hussey brings him to the fore, drawing on personal letters, archives and Bell's own extensive writing. Complete with a cast of famous characters, including Lytton Strachey, T. S. Eliot, Katherine Mansfield, Pablo Picasso and Jean Cocteau, Clive Bell and the Making of Modernism is a fascinating portrait of a man who became one of the pioneering voices in art of his era. Reclaiming Bell's stature among the makers of modernism, Hussey has given us a biography to muse and marvel over - a snapshot of a time and of a man who revelled in and encouraged the shock of the new. 'A book of real substance written with style and panache, copious fresh information and many insights' - Julian Bell

SHORTLISTED FOR THE BARBELLION PRIZE 2021 'A manifesto for recalibrating' DAILY MAIL 'I can't think of many books where the reader feels so passionately on the side of the narrator' GUARDIAN 'A profound redefinition of the very idea of vitality' FINANCIAL TIMES Josie George lives in a tiny terraced house in the urban West Midlands with her son. Since her early childhood, she has lived with the fluctuating and confusing challenge of disabling chronic illness. But Josie's world is surprising, intricate, dynamic. She has learned what to look for: the routines of her friends at the community centre; the neighbourhood birds in flight; the slow changes in the morning light, in her small garden, in her growing son, in herself. In January 2018, Josie sets out to tell the story of her still life, over the course of a year. As the seasons shift, and the tides of her body draw in and out, Josie begins to unfurl her history. And against a world which values progress and productivity above all else, Josie sets out a quietly radical alternative: to value and treasure life for life itself, with all its great and small miracles. 'Full of kindness, A Still Life will make you a better person' CLARE MACKINTOSH 'A Still Life is joy-lit: vivid, lovestruck, hopeful and wise' MELISSA HARRISON 'Josie George is the kind of writer I strive to be ... A tough, tender, beautiful book about existing in a body in the world' ELLA RISBRIDGER 'Could not be more timely ... An immensely talented writer' LINDA GRANT

Ezra Pound's greatness as a man of letters - poet, translator, critic, editor, pedagogue, universal correspondent - made him a central figure in the literature of the twentieth century. He was an exotic and controversial character throughout his life, and his public career achieved melodrama in l945 when he was indicted on a charge of treason, for broadcasting Axis propaganda on Rome radio during the war. He was eventually confined to a Washington psychiatric hospital for thirteen years. The final period of his life, after his release and return to Italy, was as dramatic - and tragic - as anything that had gone before. In this vigorous and fully documented biography Humphrey Carpenter carefully scrutinizes and often takes issue with the accepted valuation of Pound's achievements and his personality. He had access to Pound's vast correspondence - including highly revealing letters to his parents - and to medical records and confidential American government memoranda relating to Pound's indictment and trial. A Serious Character is rich in fascinating detail and acutely challenging in its judgements and commentary. Its title is taken from one of Pound's favourite sayings (first recorded in 1913): 'Are you or are you not, a serious character?'.

'I have tried to write my life as if I were confessing to a priest, a philosopher, and a wise old woman. I have tried to write as if I were going to be executed when it was finished. I have tried to write it as if I were both God and Devil.' One is tempted to say only John Cowper Powys could have written that, and, beyond doubt, only John Cowper Powys could have written the idiosyncratic and spellbinding work we have here. Yes, he was influenced by Yeats and Rousseau, especially the latter's "Confessions," but there is no other work quite like this. It seems almost too pedestrian to say it covers the first sixty years of his life (he lived for another thirty years) and to say anything about them, as J. B. Priestley memorably put it, 'would be like turning on a tap before introducing people to Niagara Falls.' J. B. Priestley also said 'It is a book which can be read, with pleasure and profit, over and over again. It is in fact one of the greatest autobiographies in the English language. Even if Powys had never written any novels, this one book alone would have proved him to be a writer of genius.'

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.

From the author of the definitive biography of Fyodor Dostoevsky, never-before-published lectures that provide an accessible introduction to the Russian writer's major works Joseph Frank (1918-2013) was perhaps the most important Dostoevsky biographer, scholar, and critic of his time. His never-before-published Stanford lectures on the Russian novelist's major works provide an unparalleled and accessible introduction to some of literature's greatest masterpieces. Presented here for the first time, these illuminating lectures begin with an introduction to Dostoevsky's life and literary influences and go on to explore the breadth of his career-from Poor Folk, The Double, and The House of the Dead to Notes from Underground, Crime and Punishment, The Idiot, and The Brothers Karamazov. Written in a conversational style that combines literary analysis and cultural history, Lectures on Dostoevsky places the novels and their key characters and scenes in a rich context. Bringing Joseph Frank's unmatched knowledge and understanding of Dostoevsky's life and writings to a new generation of readers, this remarkable book will appeal to anyone seeking to understand Dostoevsky and his times. The book also includes Frank's favorite review of his Dostoevsky biography, "Joseph Frank's Dostoevsky" by David Foster Wallace, originally published in the Village Voice.

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"

""

'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"

""

'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

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.

Originally published in 1969. In the seventeenth century neither the literary genre nor the term 'autobiography' existed but we see in seventeenth-century literature many kinds of autobiographical writings, to which their authors gave such titles as 'Journal of the Life of Me, Confessions, etc. This work is a study of nearly two hundred of these, published and unpublished, which together represent a very varied group of writings. The book begins with an examination of the rise of autobiography as a genre during the Renaissance. It discusses seventeenth-century autobiographical writings under two main headings - 'religious', where the autobiographies are grouped according to the denomination of their writer, and 'secular', where a wide variety of writings is examined, including accounts of travel and of military and political life, as well as more personal accounts. Autobiographies by women are treated separately, and the author shows that they in general have a deeper revelation of sentiments and more subtle self-analyses than is found in comparable works by men. Sources and influences are recorded and also the essential historical details of each work. This book gives a critical analysis of the autobiographies as literary works and suggests relationships between them and the culture and society of their time. Review of the original publication: "...a contribution to cultural history which is of quite exceptional merit. Its subject is of great intrinsic interest and manifest importance and Professor Delany has treated it with exemplary thoroughness, lucidity, and intelligence." Lionel Trilling

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

Angus Wilson was a critic, lecturer and man of letters. Pre-eminently though he was a novelist, indeed, in the words of Paul Bailey 'no other novelist of his generation offered as complete and detailed a portrait of English society.' His first volume of stories, The Wrong Set (1949) - reissued in Faber Finds - launched Wilson as one of the most controversial, colourful and entertaining figures on the post-war literary scene, and he rapidly developed into a major novelist, maturing from enfant terrible to elder statesman in the process. Margaret Drabble's biography traces the influences of his bizarrely extended family, his years as a librarian at the British Museum - interrupted by a grim spell in the code-breaking huts at Bletchley Park - and his unexpected liberation as a writer. It portrays the dizzying progress of a writer and enthusiast whose work was at the forefront of English fiction for the second-half of the twentieth-century: above all it is a portrait of an artist of enormous courage, a man who confronted challenge to the very end. In his later years he became both influence and mentor for a younger generation of writers, including Ian McEwan, Rose Tremain and Margaret Drabble herself. Margaret Drabble knew Angus Wilson from the late 1960s and her biography is enriched with personal knowledge and recollections. 'He has been fortunate in his biographer . . . Altogether, with the assistance and consent of Tony Garrett, the dedicatee and second hero of the book, she has given a minute, intimate and candid account . . . of Wilson's hectic life.' Frank Kermode, London Review of Books 'A solid tribute of scholarship and affection' Penelope Fitzgerald, Independent 'No one interested in the story of modern fiction can fail to find this life fascinating. Its virtues - a bright, crowded canvas, warmth, a witty, polished style - are those of Wilson's novels . . . Through it all shines so human a picturer of a courageous, doubting, eccentric, driven writer.' Jackie Wullschlager, Financial Times

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 "

""

'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 "

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

At the start of 1987, Primo Levi took part in a remarkable series of conversations about his early life with a friend and fellow writer, Giovanni Tesio. This book is the result of those meetings, originally intended to be the basis for an authorized biography and published here in English for the first time. In a densely packed dialogue, Levi responds to Tesio's tactful and never too insistent questions with a watchful readiness and candour, breaking through the reserve of his public persona to allow a more intimate self to emerge. Following the thread of memory, he lucidly discusses his family, his childhood, his education during the Fascist period, his adolescent friendships, his reading, his shyness and his passion for mountaineering, and recounts his wartime experience as a partisan and the terrible price it exacted from him and his comrades. Though we glimpse his later life as a writer, the story breaks off just before his deportation to Auschwitz owing to his sudden death. In The Last Interview, Levi the man, the witness, the chemist and the writer all unite to offer us a story which is also a window onto history. These conversations shed new light on Levi's life and will appeal to the many readers of this most eloquent witness to the horrors of the Holocaust.

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.

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

Malcolm Lowry was the troubled author of Under the Volcano (1947), a brilliant novel about the last day of an alcoholic former British consul on the Mexican Day of the Dead, the manuscript of which Lowry rescued from the flames when his fisherman's shack burned down in 1944. Lowry's other books were not always so lucky: his first novel, Ultramarine (1930), was stolen after four years' composition and resurrected from a carbon copy; another manuscript, In Ballast to the White Sea, was destroyed in the 1944 fire. An early draft of In Ballast was discovered this century and published in 2014. Lowry's life, like his work, was often lost to chaos; Gordon Bowker's 1994 biography is a masterful account of a life spent adrift.