Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

With a new introduction by Professor John Sutherland, this edition takes a fresh look at one of the great works of the twentieth century. Animal Farm is a moral animal fable written to highlight the weakness of humankind, and satirize the rule of Stalin, whose rise through revolution ended in totalitarianism. Peppered with slogans such as 'All Animals Are Equal', Orwell undermines the dark treachery of the pigs with a simple economy of style as, open-eyed and naive, the other animals allow themselves to be outmanoeuvred. By the end of the book the pigs are as corrupt and arrogant as the humans they replace. For many, the book was a wider allegory of human behaviour, a lament; but for others it was a call to action that foreshadowed the Cold War, where differing world views would attempt to adopt Orwell's great work for their own purpose.

Intergenerational conflict is a perennial feature of society and capitalism. One side has the youth, the other side has the lion's share of the wealth, and the good things wealth can bring. In the last few years that friction has reached to dangerous heights. Call it war. And, like all war, it has the risk of doing severe damage. In this fiery polemic the author of the best-selling The War on the Old has switched sides, and now examines the conflict as it must appear to the young. For the first time since the Second World War, younger generations can expect less fulfilled lives than their elders. They may not be their `betters', but in the second decade of the twenty-first century they surely are better heeled. Traditionally society's way of controlling the young has been to send them off to war, or conscript them. They would either die, or learn `duty'. Now we send as many as 50% to university, from which they emerge encumbered with debt. As Orwell observed, there is nothing like debt for extinguishing the political fire in your belly. The War on the Young is lively, provocative and ranges wittily, and at times angrily, over many casus belli from the standpoint of the nation's young people. Things are not getting better. This is a timely and highly readable look at a ticking generational time-bomb.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

First published in 1981, this book offers a study of British and American popular fiction in the 1970s, a decade in which the quest for the superseller came to dominate the lives of publishers on both sides of the Atlantic. Illustrated by examples of the lurid incidents that catapult so many books into the bestseller charts, this comprehensive study covers the work of Robbins, Hailey and Maclean, the 'bodice rippers', the disaster craze, horror, war stories and media tie-ins such as The Godfather, Jaws and Star Wars.

With over 900 biographical entries, more than 600 novels synopsized, and a wealth of background material on the publishers, reviewers and readers of the age the Longman Companion to Victorian Fiction is the fullest account of the period's fiction ever published. Now in a second edition, the book has been revised and a generous selection of images have been chosen to illustrate various aspects of Victorian publishing, writing, and reading life. Organised alphabetically, the information provided will be a boon to students, researchers and all lovers of reading. The entries, though concise, meet the high standards demanded by modern scholarship. The writing - marked by Sutherland's characteristic combination of flair, clarity and erudition - is of such a high standard that the book is a joy to read, as well as a definitive work of reference.

We live with the idea of sin every day - from the greatest transgressions to the tiniest misdemeanours. But surely the concept was invented for an age where divine retribution and eternal punishment dominated the collective consciousness? In this lively collection of new writing, Nicola Barker, Dylan Evans, David Flusfeder, Todd McEwen, Martin Rowson, John Sutherland and Ali Smith go head to head with the capital vices to explore what we really mean when we talk about sin. The resulting mixture of erudite and playful essays and startling new fiction might not make you a better person, but it will certainly give you pause for thought when you're next laying the law down or - heaven forfend - about to do something beyond the pale yourself.

'Triggering'. When and where did the usage originate? No one is sure. There is, however, clear connection with the psychiatric term 'trauma trigger' - stimuli which can detonate unhealed wounds. The concept of triggering took off in feminist magazines and social media 'chat' around 2010. Around 2013/14 it moved, wholesale, into higher education. In May 2014 the New York Times reported that at scores of institutions student bodies were demanding trigger warnings in their courses for canonical texts. It reached a floodmark with a survey by The Times in August 2022 which found that British universities had covertly added trigger warnings to over a thousand texts, including the works of literary greats such as Geoffrey Chaucer, William Shakespeare, Jane Austen, Charlotte Bronte, Charles Dickens and Agatha Christie. The current government vilifies triggering with the sarcasms 'wokery' and 'snowflakery'. What is overlooked in the heat of the argument is that triggering is categorically different from traditional institutional controls on literature. Triggering, done responsibly, honours the fact that great literature is great because it is, as Kafka says, powerful. In this extraordinary polemic, John Sutherland - Emeritus Lord Northcliffe Professor of Modern English Literature at University College London - takes a wide-ranging and characteristically nuanced look at the history of triggering and censorship in literature and shows how it has become a theatre of culture warfare. Politicians in the two great sectors of the English-speaking world have taken up arms in that conflict. Jonathan Swift's 'Battle of the Books' has flared up again.

First published in 1981, this book offers a study of British and American popular fiction in the 1970s, a decade in which the quest for the superseller came to dominate the lives of publishers on both sides of the Atlantic. Illustrated by examples of the lurid incidents that catapult so many books into the bestseller charts, this comprehensive study covers the work of Robbins, Hailey and Maclean, the 'bodice rippers', the disaster craze, horror, war stories and media tie-ins such as The Godfather, Jaws and Star Wars.

With over 900 biographical entries, more than 600 novels synopsized, and a wealth of background material on the publishers, reviewers and readers of the age the "Longman Companion to Victorian Fiction" is the fullest account of the period's fiction ever published. Now in a second edition, the book has been revised and a generous selection of images have been chosen to illustrate various aspects of Victorian publishing, writing, and reading life.

Organised alphabetically, the information provided will be a boon to students, researchers and all lovers of reading. The entries, though concise, meet the high standards demanded by modern scholarship. The writing - marked by Sutherland's characteristic combination of flair, clarity and erudition - is of such a high standard that the book is a joy to read, as well as a definitive work of reference.

"A remarkable achievement, an invaluable tool for understanding the Victorian literary milieu, and a first-rate bedside book as well." "TLS"

"A pleasure to read and to handle." "Sunday Times"

ARE YOU READY TO SAVE A LIFE? WHY HER? Becca Palmer has just lost her job as assistant to Simon Jones MP - the highly-regarded Policing Minister, tipped as a future Prime Minister. But Becca claims that Simon was more than her boss, that she is in love with him. WHY HERE? When a heartbroken Becca leaves the Home Office, she heads to Westminster Bridge, intending to take her own life. Which is where hostage negotiator Alex Lewis meets her for the first time. It is his job to try to talk her back from the edge. WHY NOW? In the negotiation that follows, Becca suggests that she may know something about the Policing Minister that she shouldn't. Something that could prompt a serious fall from grace were it to come out. But can Alex save Becca - and get to the bottom of an alleged conspiracy that goes deep inside the highest levels of government - before it's too late? *** Praise for The Fallen: 'The plot is intricate, frighteningly plausible and superbly paced; I raced through it in two sittings. Recommended.' - M W Craven

The war on the old has been declared.In the post-Brexit world, intergenerational conflict has become a visible phenomenon. There is an overwhelming sense of blame from younger generations: it was 'the wrinklies', the grey-haired plutocracy, who voted Leave; who are overburdening hospitals, shutting the youth out of the housing market and hoarding accumulated wealth.By 2020, we are told, one in five Britons will be pensioners, and living a longer retirement than ever before. 'A good thing', politicians add, through gritted teeth. The truth is that for them, 'the old' are a social, economic and political inconvenience.John Sutherland (age 78, and feeling keenly what he writes about) examines this intergenerational combat as a new kind of war in which institutional neglect and universal indifference to the old has reached aggressive, and routinely lethal, levels. This is a book which sets out to provoke but in the process tells some deep and inconvenient truths, revealing something British society would rather not think about.

In a series of 50 accessible essays, John Sutherland introduces and explains the important forms, concepts, themes and movements in literature, drawing on insights and examples from both classic and popular works. From postmodernism to postcolonialism, William Shakespeare to Jane Austen, 50 Literature Ideas You Really Need to Know is a complete introduction to the most important literary concepts in history.

Martin Amis's most highly regarded novel--a blackly comic murder mystery about a murder that has not yet happened--in a full-cloth hardcover edition with silk ribbon marker. EVERYMAN'S LIBRARY CONTEMPORARY CLASSICS.
First published twenty-five years ago in 1989, "London Fields" is considered by many to be Amis's best novel. The narrator is an American writer living in London who has had writer's block for twenty years and is now terminally ill. The other main characters are a bored and wealthy banker, a small-time criminal, and Nicola Six, a young woman who knows she will be murdered a few minutes after midnight on November 5, 1999, and who goes in search of her killer. Set ten years in the future, against a backdrop of environmental and social degradation and the looming threat of world instability and nuclear war, this is a highly unusual mystery with an unexpected twist at the end.

ARE YOU READY TO SAVE A LIFE? WHY HER? Becca Palmer has just lost her job as assistant to Simon Jones MP - the highly-regarded Policing Minister, tipped as a future Prime Minister. But Becca claims that Simon was more than her boss, that she is in love with him. WHY HERE? When a heartbroken Becca leaves the Home Office, she heads to Westminster Bridge, intending to take her own life. Which is where hostage negotiator Alex Lewis meets her for the first time. It is his job to try to talk her back from the edge. WHY NOW? In the negotiation that follows, Becca suggests that she may know something about the Policing Minister that she shouldn't. Something that could prompt a serious fall from grace were it to come out. But can Alex save Becca - and get to the bottom of an alleged conspiracy that goes deep inside the highest levels of government - before it's too late?

The second of Trollope's Palliser novels tells of the career of a hot-blooded middle-class politician whose sexual energies bring him much success with women.

An engaging guide to a rich literary heritage, The Stanford Companion presents a fascinating parade of novels, authors, publishers, editors, reviewers, illustrators, and periodicals that created the culture of Victorian fiction. Its more than 6,000 alphabetical entries provide an incomparable range of useful and little-known source material, its scholarship enlivened by the author's wit and candor.

Love, so the song goes, is a many-splendoured thing, and fiction has been trying for years both to promote and subvert the clichés it encourages. We turn to literature to learn what love is and what it should be, and readers of this collection will find consolation and inspiration in equal measure from some of the sharpest observers of this most essential human emotion.

In tracing the lineaments of `English love' through the fiction of 200 years we can see something of its infinite variety and of the shifting rules of the game. Sylvia Plath seems closer to Aphra Behn than to Elizabeth Gaskell or even Thomas Hardy in her concept of feminine modesty, while violence, or sheer incomprehension, enter the definition in the worlds of D. H. Lawrence and Katherine Mansfield. Romantic love is at the heart of the `love story' and these stories, while taking love as their subject, do not always follow the conventional route. Bittersweet endings, ironic angles on traditional platitudes and other surprises make the insights of writers such as Anne Ritchie, Somerset Maugham or V. S. Pritchett always fresh and challenging. Simple or sophisticated, sometimes comic and often very moving, these stories bring a delightful perspective to the mysteries of the English in love.

This is the first-ever book length study of one of the most important and constantly innovative 19th century book and periodical publishers. The mysterious and often elusive but enormously influential Henry Colburn (c.1784 - 16 August 1855) was the pre-eminent publisher of 'silver-fork' novels, and of many influential new writers. Colburn's main claim to rehabilitation are his troop of 'name' authors: Lady Morgan, Disraeli, Bulwer-Lytton, Captain Marryat, G.P.R James, Mrs. Margaret Oliphant, Mrs. Catherine Gore, Mrs. Caroline Norton. Frances Trollope, Anthony Trollope, Richard Cobbold, R. S. Surtees. Many would not have had a start in the careers they later enjoyed were it not for Colburn. This is a lively, and important new work on early 19th-century publishing and the patterns for the century which Colburn set. It sketches in tantalizing outlines the Regency, early nineteenth-century and Victorian book trades - and the consequences of Colburn's impact on those worlds. In addition, the work centres on Colburn's most celebrated authors. The book - which is well illustrated - contains the first catalogue of Colburn's publications.Thus far, literary and Publishing History have drawn a formidable charge sheet against Henry Colburn. In personal pedigree he is slandered as a 'guttersnipe', or a 'royal bastard'. In Disraeli's pungent description he was a publishing 'bawd', engaged in wholesale literary prostitution. A very bad thing. And yet this publishing Barabbas can be argued to have been innovative and a force for constructive change in the rapidly evolving book trade and---paradoxically---a man of taste. Various rumours circulated that he was either a bastard of the Duke of York or of Lord Landsdowne. Date uncertain. He liked to weave illustrious (typically mendacious) pedigrees for himself as much as for his dubiously aristocratic purveyors of silver forkery. What, precisely, did Colburn do that should raise his reputation and make us see him as a good thing? In the largest sense he demonstrated, by example and practice, the need for consolidation between hitherto dismembered arms of the London book world.Beginning his career at apprentice level in the London West End circulating-library business he went on, having learned at the counter what the customer wanted, to become the undisputed market leader in the publication of three-volume novels and (sub-Murray) travel books. The three-decker went on to become the foundation-stone of the 'Leviathan' library system (Mudie's and Smith's) and created a seventy-year stability in the publishing, distribution and reception of English fiction. In 1814 Colburn founded the New Monthly Magazine. In 1817, he set up England's first serious weekly review, the Literary Gazette. In 1828 he helped found the Athenaeum (distant parent of today's New Statesman). His behaviour, as a magazine proprietor and editor at large was typically outrageous. But the link he forged between higher journalism and literature was momentous.