At the end of the Second World War Piers and his younger brother Tom are growing up at Tothill House, the family home with its magnificent baroque hall by Vanbrugh. Tom is the pluckier of the two, because pluck means overcoming one's fears. Piers has no such fears to overcome; he is ambitious. As the post-war years witness a division in their aspirations and their destinies, the two brothers strive to achieve their own means of setting the world on fire. With rich characterization, virtuoso scenes of comedy, and sparkling dialogue, Setting the World On Fire provides a brilliant anatomy of post-war English society from 1948 to 1969. 'It is superb entertainment and social criticism but it is also a poem about the fire in human beings ... A moving and disturbing book and a very superior piece of art.' Anthony Burgess, Observer.

The Wild Garden is both an autobiographical essay on the creative process and a remarkable personal account of the circumstances surrounding the nervous crisis that impelled Angus Wilson to become a writer at the age of thirty-six. Examining specific incidents, characters, places and recurring symbols in his life and work, notably the wild garden itself, Wilson analyses the links between his own life crisis and the theme of liberation by self-realization that was to be central to all his novels. 'The Wild Garden is, quite simply, one of the finest accounts of the creative process by a recent writer that I know. Here Angus Wilson looks at the springs of writing in a way that all writers can recognize, and all readers appreciate as a way into the brilliant, discovering imagination that lay behind his major novels.' Malcolm Bradbury

Hamo Langmuir flies westwards round the world to examine the effects of his miraculous high-yielding rice, leaving a bleak and impotent existence behind him. His god-daughter, Alexandra Grant, travels with her magic of myths and mysticism along the hippy trail to the East. With a wry wit Angus Wilson brings into focus their separate adventures (Quixotic in Hamo's case, dreamlike in Alexandra's) until the tragic denouement when they meet in Goa. 'Enough thought, comedy, wit, excitement and pathos to keep a dozen less profligate and inventive novelists busy for years.' Francis King, Observer

Towards the end of Angus Wilson's life his short stories were entombed in a collected volume. By way of signifying the corpus was sadly complete that made sense but it didn't do justice to the importance and quality of his work in this medium. Three volumes of short stories were published - The Wrong Set, Such Darling Dodos and A Bit Off the Map. Faber Finds are reissuing these original selections. Angus Wilson made his initial reputation by his short stories, The Wrong Set and Such Darling Dodos being his first two published books, appearing in 1949 and 1950 respectively. When reviewing Such Darling Dodos C. P. Snow perceptively wrote, 'Part-bizarre, part-savage and part-maudlin, there is nothing much like it on the contemporary scene. It is rather as though a man of acute sensibility felt left out of the human party, and was surveying it, half-enviously, half-contemptuously, from the corner of the room, determined to strip-off the comfortable pretences and show that this party is pretty horrifying after all ... Sometimes the effect is too mad to be pleasant, sometimes most moving; no one could deny Mr Wilson's gift.' As Margaret Drabble points out in her biography of Angus Wilson (to be reissued in Faber Finds) his stories were in their own way to be as iconoclastic and irreverent as John Osborne's plays were to be. They not so much deserve as demand to be re-read.

Set in a near future (the novel was first published in 1961 and is set in the period 1970-73), this is Angus Wilson's most allegorical novel, about a doomed attempt to set up a reserve for wild animals. Simon Carter, secretary of the London Zoo, has accepted responsibility and power to the prejudice of his gifts as a naturalist. But power is more than just the complicated game played by the old men at the zoo in the satirical first half of this novel: it lies very near to violence, and in the second half real life inexorably turns to fantasy - the fantasy of war. This tense and at times brutal story offers the healing relationship between man and the natural world as a solution for the power dilemma.

Written in the 1950s, the eight stories collected here are brilliantly of their time: the decade of rubber plants, espresso bars and skiffle, of Suez, Teddy Boys and Angry Young Men. With compassion and deadly accuracy, Angus Wilson charts the scandals and secrets of the respectable middle classes - Kennie, the Borstal Boy mascot of an intellectual clique; June Raven, an SW3 hostess who gets over-involved with one of her publisher-husband's authors; Lord Peacehaven, retired megalomaniac; Maurice Liebig, teenage pawn in a family feud; and the mad old man who finds the justice of God in a hen roost.

A compassionate portrait of an elderly - and frustrated - woman adjusting to new town life and finding a new purpose in living. Illness forces Sylvia Calvert to live with her son Harold, a headmaster in Carshall New Town. At first, Sylvia cannot adjust to the jungle of supermarkets, 10-pin bowling alleys and recreation areas; to the committees and purposeful entertaining involved in the creation of a new society. Above all, Sylvia can't understand Harold's odd, thrusting idealism and the strange behaviour of her grandchildren. But a chance meeting and a family crisis give her the chance to fulfil herself ...

Angus Wilson's first volume of short stories, The Wrong Set was first published in 1949 to immense critical acclaim. The collection is a brilliantly funny exposure of the protective devices with which people seek to mask deep-laid egotism. There is the wallowing in self-adulation on the part of the 'crazy Cockshott family', as they delight to dub themselves. There is the search for really nice standards on the part of Vi, singer at the 'Passion Fruit' nightclub - as hopelessly bemused a spirit as ever lived in sin at Earl's Court and attempted to lecture a young Communist nephew with untidy hair and spectacles. There is the humbug of the bullying new curator at the provincial Art Gallery. And the staff dance at the South Kensington hotel, where lives the lady who spends her life trying to achieve 'a Knightsbridge appearance on a Kensington purse', and where, as the evening progresses and the drinks begin to tell, the lady-like facades and gentlemanly courtesy of the clientele crack up with a vengeance.

On its appearance in 1952 the "Times Literary Supplement" called "Hemlock and After" 'a novel of remarkable power and literary skill which deserves to be judged by the highest standards'. Angus Wilson's first novel is concerned with the hypocrisies of middle-class society. The protagonist, Bernard Sands, is a novelist and an intellectual who tries to found a centre for young writers. However, Sands is a secret homosexual and in the post-war Britain of the time his liberal ideas cause much anxiety to those in charge. Surrounded by false friends and scheming enemies Sands has to come to terms with his emotions and is forced to decide where his loyalties lie.

A compassionately written novel "Hemlock and After" explores the conflict of duty and love in one man's life and the consequences of our choices. Written at a time when homosexuality was still an offence "Hemlock and After "is a brilliantly handled novel from a writer who was described by John Betjeman as 'mercilessly accurate and never dull.'

'Angus Wilson is one of the most enjoyable novelists of the 20th century ... Anglo-Saxon Attitudes (1956) analyses a wide range of British society in a complicated plot that offers all the pleasures of detective fiction combined with a steady and humane insight.' Margaret Drabble First published in 1956, Anglo-Saxon Attitudes draws upon perhaps the most famous archaeological hoax in history: the 'Piltdown Man', finally exposed in 1953. The novel's protagonist is Gerald Middleton, professor of early medieval history and taciturn creature of habit. Separated from his Swedish wife, Gerald is increasingly conscious of his failings. Moreover, some years ago he was involved in an excavation that led to the discovery of a grotesque idol in the tomb of Bishop Eorpwald. The sole survivor of the original excavation party, Gerald harbours a potentially ruinous secret ...

A panoramic novel that stretches from 1912 to 1967 No Laughing Matter is perhaps Angus Wilson's most autobiographical novel. The novel chronicles the end of the bourgeois way of life as seen through the lives of the six Matthews children and their dysfuntional middle-class family. Their parents - Billy Pop and the Countess - are objects of ridicule to their children who vow never to make their mistakes. Quentin, the eldest, is a socialist who adores women. His fervent views, however, become distilled over the years until he transforms into a cynical TV pundit. Gladys, plump and amenable, is unlucky in love and eventually falls for the charms of a crook. Rupert, the handsome actor, has a successful career until he fails to adapt to the changing theatre. Margaret is a brilliant and highly acclaimed novelist but she becomes bitter as her twin Sukey sinks into domestic bliss, while Marcus, the baby of the family, believes that his career is his life. An ambitious and enriching novel No Laughing Matter is an extraordinary work in its depictions of complex family relationships, where it is just as easy to hate as to love and where everyone struggles to be an individual.

Meg Eliot is the wife of a successful barrister and with that comes a lovely home in Westminster, cocktail parties and a round of charity committees. She is the model wife and her life is one of ease, contentment and privilege. All that changes though when she is suddenly left widowed after a senseless tragedy. Totally alone she is thrust into a struggle to reconstruct her life as she realises that she doesn't really know who she is anymore or who she is supposed to be. The Middle Age of Mrs Eliot follows Meg as she tries to make sense of the realities of life, of living and contemplates the future and its possibilites. What she finds is the ability to survive and, also, the joys of new friendships, new opportunities and perhaps even the idea of a new love. Described by the Daily Telegraph as 'one of fiction's great female creatures', Meg Eliot is a powerful heroine who inspired readers when she first appeared in 1958.