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)

A collection of nine of the great Irish writer's stories set in her homeland. One of the most highly regarded novelists of this century and a prolific writer of short stories, she made the short story peculiarly her own and some of her Irish stories -- including "Her Table Spread", "Summer Night", and "The Happy Autumn Fields", all included in this collection, are considered by Glendinning, who was her official biographer, to be among her greatest.

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.

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.

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.

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.

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.

TO THE NORTH portrays a classic romantic entanglement of a love sympathetic, honest, well-meaning young woman who cannot resist becoming involved with a man who is patently caddish and predatory. Instriking and richly comic contrast to the turbulence of this passion is the cool, detached atmosphere of the house in St John's Wood in which it takes its course - where the young woman's sister-in-law with her strictly unromantic preoccupations is always near by, the orphaned teenager Pauline presents herself as gawky innocence itself, and the power-loving busybody Lady Waters misses nothing.

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.

FRIENDS AND RELATIONS, of all Elizabeth Bowen's novels, is perhaps the most personal and the most domestic. This is a view of life in a moneyed upper-middle class enjoying its sunset of prosperity, securityand complacency - and by no means free from triviality. But its very narrowness is rich in comedy, and it enables Elizabeth Bowen to createtwo of her most memorable characters - Lady Elfrida, a creature of privilege, and Theodora Thirdman, the gawky and obtrusive adolescent who carries her emotionalism into adult life.

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.

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.