As the smoky dark sweeps across the capital, strange stories emerge from the night. A seance reveals a ghastly secret in the murk of Regent's Canal. From south of the Thames come chilling reports of a spring-heeled spectre, and in Stoke Newington rumours abound of an opening to another world among the quiet alleys. Join Elizabeth Dearnley on this atmospheric tour through a shadowy London, a city which has long inspired writers of the weird and uncanny. Waiting in the hazy streets are eerie tales from Charlotte Riddell, Lettice Galbraith and Violet Hunt, along with haunting pieces by Virginia Woolf, Arthur Machen, Sam Selvon and many more.

The Last September is Elizabeth Bowen's portrait of a young woman's coming of age in a brutalized time and place, where the ordinariness of life floats like music over the impending doom of history.

In 1920, at their country home in County Cork, Sir Richard Naylor and his wife, Lady Myra, and their friends maintain a skeptical attitude toward the events going on around them, but behind the facade of tennis parties and army camp dances, all know that the end is approaching—the end of British rule in the south of Ireland and the demise of a way of life that had survived for centuries. Their niece, Lois Farquar, attempts to live her own life and gain her own freedoms from the very class that her elders are vainly defending. The Last September depicts the tensions between love and the longing for freedom, between tradition and the terrifying prospect of independence, both political and spiritual.

"Brilliant.... A successful combination of social comedy and private tragedy."—The Times Literary Supplement (London)

Nanda Gray, the daughter of a Catholic convert, is nine when she is sent to the Convent of Five Wounds. Quick-witted, resilient and eager to please, she accepts this closed world where, with all the enthusiasm of the outsider, her desires and passions become only those the school permits. Her only deviation from total obedience is the passionate friendships she makes. Convent life is perfectly captured - the smell of beeswax and incense; the petty cruelties of the nuns; the eccentricities of Nanda's school friends.

The Death of the Heart is perhaps Elizabeth Bowen's best-known book. As she deftly and delicately exposes the cruelty that lurks behind the polished surfaces of conventional society, Bowen reveals herself as a masterful novelist who combines a sense of humor with a devastating gift for divining human motivations.

In this piercing story of innocence betrayed set in the thirties, the orphaned Portia is stranded in the sophisticated and politely treacherous world of her wealthy half-brother's home in London.There she encounters the attractive, carefree cad Eddie. To him, Portia is at once child and woman, and her fears her gushing love. To her, Eddie is the only reaason to be alive. But when Eddie follows Portia to a sea-side resort, the flash of a cigarette lighter in a darkened cinema illuminates a stunning romantic betrayal--and sets in motion one of the most moving and desperate flights of the heart in modern literature.

It is London in the late 1930s, and into a coterie of rather grand early-middle-aged people the sixteen-year-old orphan Portia is plungedbeyond her depth. Disconcertingly vulnerable, Portia is manifestly trying to understand what is going on around her and looking for something that is not there. Evident victim, she is also an inadvertent victimiser - her impossible lovingness and austere trust being too much for her admirer Eddie, who is himself defensive and uncomfortable in this society which has managed to bring them together. In the midst of the rising tension is set perhaps Elizabeth Bowen's most brilliant piece of social comedy, when, at a seaside villa full of rollicking young people, Portia experiences at least temporary relief from the misery Eddie seems determined to bring her.

Eva Trout, Elizabeth Bowen’s last novel, epitomizes her bold exploration of the territory between the comedy of manners and cutting social commentary.

Orphaned at a young age, Eva has found a home of sorts in Worcestershire with her former schoolteacher, Iseult Arbles, and Iseult's husband, Eric. From a safe distance in London, her legal guardian, Constantine, assumes that all's well. But Eva's flighty, romantic nature hasn't entirely clicked with the Arbles household, and Eva is plotting to escape. When she sets out to hock her Jaguar and disappear without a trace, she unwittingly leaves a paper trail for her various custodians–and all kinds of trouble–to follow.

This volume collects for the first time essays published in British, Irish, and American periodicals during Bowen's lifetime as well as essays which have never been published before. The range of subjects alone makes these essays indispensable reading.Throughout her career, Elizabeth Bowen, the Anglo-Irish novelist and short story writer, also wrote literary essays that display a shrewd, generous intelligence. Always sensitive to underlying tensions, she evokes the particular climate of countries and places in Hungary," "Prague and the Crisis," and "Bowen's Court." In "Britain in Autumn," she records the strained atmosphere of the blitz as no other writer does. Immediately after the war, she reported on the International Peace Conference in Paris in a series of essays that are startling in their evocation of tense diplomacy among international delegates scrabbling to define the boundaries of Europe and the stakes of the Cold War. The aftershock of war registers poignantly in "Opening Up the House": owners evacuated during the war return to their houses empty since 1939. Other essays in this volume, especially those on James Joyce, Jane Austen, and the technique of writing, offer indispensable mid-century evaluations of the state of literature. The essays assembled in this volume were published in British, Irish, and American periodicals during Bowen's lifetime. She herself did not gather them into any collection. Some of these essays exist only as typescript drafts and are published here for the first time. Bowen's observations on age, toys, disappointment, charm, and manners place her among the very best literary essayists of the modernist period.

In 1914, three eleven-year-old girls buried a box in a thicket on the coast of England, shortly before World War I sent their lives on divergent paths. Nearly fifty years later, a series of mysteriously-worded classified ads brings the women reluctantly together again. Dinah has grown from a chubby, bossy girl to a beautiful, eccentric widow. The clever, reticent Clare has blossomed into an imperious entrepreneur of independent means. And Sheila--who was once the pretty princess of her small universe--has weathered disappointed aspirations to become a chic and glossily correct housewife.
As these radically different women confront one another and their shared secrets, the hard-won complacencies of their present selves are irrevocably shattered. In a novel as subtle and compelling as a mystery, Elizabeth Bowen explores the buried revelations--and the dangers--that attend the summoning up of childhood and the long-concealed scars of the past.

This volume collects for the first time essays published in British, Irish, and American periodicals during Bowen's lifetime as well as essays which have never been published before. The range of subjects alone makes these essays indispensable reading.Throughout her career, Elizabeth Bowen, the Anglo-Irish novelist and short story writer, also wrote literary essays that display a shrewd, generous intelligence. Always sensitive to underlying tensions, she evokes the particular climate of countries and places in Hungary," "Prague and the Crisis," and "Bowen's Court." In "Britain in Autumn," she records the strained atmosphere of the blitz as no other writer does. Immediately after the war, she reported on the International Peace Conference in Paris in a series of essays that are startling in their evocation of tense diplomacy among international delegates scrabbling to define the boundaries of Europe and the stakes of the Cold War. The aftershock of war registers poignantly in "Opening Up the House": owners evacuated during the war return to their houses empty since 1939. Other essays in this volume, especially those on James Joyce, Jane Austen, and the technique of writing, offer indispensable mid-century evaluations of the state of literature. The essays assembled in this volume were published in British, Irish, and American periodicals during Bowen's lifetime. She herself did not gather them into any collection. Some of these essays exist only as typescript drafts and are published here for the first time. Bowen's observations on age, toys, disappointment, charm, and manners place her among the very best literary essayists of the modernist period.

When eleven-year-old Henrietta arrives at the Fishers’ well-appointed house in Paris, she is prepared to spend her day between trains looked after by an old friend of her grandmother’s. Henrietta longs to see a few sights in the foreign city; little does she know what fascinating secrets the Fisher house itself contains.
For Henrietta finds that her visit coincides with that of Leopold, an intense child who has come to Paris to be introduced to the mother he has never known. In the course of a single day, the relations between Leopold, Henrietta’s agitated hostess Naomi Fisher, Leopold’s mysterious mother, his dead father, and the dying matriarch in bed upstairs, come to light slowly and tantalizingly. And when Henrietta leaves the house that evening, it is in possession of the kind of grave knowledge usually reserved only for adults. One of Elizabeth Bowen’s most artful and psychologically acute novels, The House in Paris is a timeless masterpiece of nuance and atmosphere, and represents the very best of Bowen’s celebrated oeuvre.

A packet of letters, found in an attic, leads young Jane into the world of love. The attic is in Montefort, a corroding country house in County Cork, which harbours a collection of people held there by ties of kinship or habit, and haunted by the memory of its former owner. During a hot and dry summer, Jane pursues her romantic imaginings, while not far off the rich, promiscuous Lady Latterly waits to play her part in Jane's awakening.

'Bowen's stories are novels that have been split open like rocks and reveal the glitter of the naked crystals which have formed them' Vogue SELECTED AND WITH A NEW INTRODUCTION BY TESSA HADLEY A girl shares her secret den. A couple stroll through a ruined city. A man walks into a ladies' hat shop. A teacher dreams of killing her pupil. Spanning the 1920s to the post-war years, this new selection brings Elizabeth Bowen's finest short stories together for the first time. Elegant and subtle, they showcase Bowen's ability to evoke ineffable emotions - grief, nostalgia, self-consciousness, dread - and combine remarkable psychological insight with vivid settings, from the countryside of Bowen's native Ireland to the streets of her London home after the Blitz. Encompassing characters from many walks of life and a vast array of moods, these are intricate journeys of domesticity and discovery, of the homely and uncanny, of the mind and body.

WITH AN INTRODUCTION BY A.S. BYATT When eleven-year-old Henrietta arrives at the Fishers' residence in Paris, little does she know what fascinating secrets the house itself contains. Henrietta finds that her visit coincides with that of Leopold, an intense child who has come to Paris to be introduced to the mother he has never known. In the course of a single day, the mystery surrounding Leopold, his parents, Henrietta's agitated hostess and the dying matriarch in bed upstairs, come to light slowly and tantalisingly.

The family at the 'big house' is in an equivocal position. Interest and tradition should make them support the British but affection ties them to the now resistant people of the surrounding country. Meanwhile, tennis parties and dances are still held, against a background of ambushes. Young officers dance and flirt, or, armed, they patrol the countryside. Faint vibrations of trouble that she cannot understand reach the young girl Lois, who at the same time takes nothing for granted: she is a child of the transition period. Time is not standing still, and no one really believes that it is. Fate is moving in the direction of this apparently immune and remote place. The young are set to be desolating free, the old desolated, by a violent act.

On the face of it the story is about a woman who is given reason to suspect that the man with whom she is in love is betraying his country Another man is on his track, and a triangular situation develops. All the elements of a hunter-and-hunted thriller are here, but what she makes of them is an internal drama of remarkable perception and understanding in a domestic setting in embattled London.

Her imagineative interpretation of the effect of war on the manners, morals and emotions of those not directly engaged in the fighting is drawn from an uncannily poignant recall of the wartime London scene.