More than twenty years after the classic" The Transit of Venus," Shirley Hazzard returns to fiction with a novel that in the words of Ann Patchett "is brilliant and dazzling..."
"The Great Fire" is an extraordinary love story set in the immediate aftermath of the great conflagration of the Second World War. In war-torn Asia and stricken Europe, men and women, still young but veterans of harsh experience, must reinvent their lives and expectations, and learn, from their past, to dream again. Some will fulfill their destinies, others will falter. At the center of the story, a brave and brilliant soldier finds that survival and worldly achievement are not enough. His counterpart, a young girl living in occupied Japan and tending her dying brother, falls in love, and in the process discovers herself.
In the looming shadow of world enmities resumed, and of Asia's coming centrality in world affairs, a man and a woman seek to recover self-reliance, balance, and tenderness, struggling to reclaim their humanity. "The Great Fire" is a story of love in the aftermath of war by "purely and simply, one of the greatest writers working in English today." (Michael Cunningham)

Born in Australia, Shirley Hazzard first moved to Naples as a young woman in the 1950s to take up a job with the United Nations. It was the beginning of a long love affair with the city. "The Ancient Shore "collects the best of Hazzard's writings on Naples, along with a classic "New Yorker" essay by her late husband, Francis Steegmuller. For the pair, both insatiable readers, the Naples of Pliny, Gibbon, and Auden is constantly alive to them in the present.

With Hazzard as our guide, we encounter Henry James, Oscar Wilde, and of course Goethe, but Hazzard's concern is primarily with the Naples of our own time--often violently unforgiving to innocent tourists, but able to transport the visitor who attends patiently to its rhythms and history. A town shadowed by both the symbol and the reality of Vesuvius can never fail to acknowledge the essential precariousness of life--nor, as the lover of Naples discovers, the human compassion, generosity, and friendship that are necessary to sustain it.

Beautifully illustrated by photographs from such masters as Henri Cartier-Bresson and Herbert List, "The Ancient Shore "is a lyrical letter to a lifelong love: honest and clear-eyed, yet still fervently, endlessly enchanted.

"Much larger than all its parts, this book does full justice to a place, and a time, where 'nothing was pristine, except the light.'"--"Bookforum"

"Deep in the spell of Italy, Hazzard parses the difference between visiting and living and working in a foreign country. She writes with enormous eloquence and passion of the beauty of getting lost in a place."--Susan Slater Reynolds, "Los Angeles Times"

"The two voices join in exquisite harmony. . . . A lovely book."--"Booklist," starred review

Collected Stories includes both volumes of National Book Award-winning author Shirley Hazzard's short story collections - Cliffs of Fall and People in Glass Houses - alongside uncollected works and two previously unpublished stories. Twenty-eight works of short fiction in all, Shirley Hazzard's Collected Stories is a work of staggering breadth and talent. Taken together, Hazzard's short stories are masterworks in telescoping focus, 'at once surgical and symphonic' (New Yorker), ranging from quotidian struggles between beauty and pragmatism to satirical sendups of international bureaucracy, from the Italian countryside to suburban Connecticut. In an interview, Hazzard once said, 'The idea that somebody has expressed something, in a supreme way, that it can be expressed; this is, I think, an enormous feature of literature'. Her stories themselves are a supreme evocation of writing at its very best: probing, uncompromising and deeply felt.

Caro, gallant and adventurous, is one of two Australian sisters who have come to post-war England to seek their fortunes. Courted long and hopelessly by young scientist, Ted Tice, she is to find that love brings passion, sorrow, betrayal and finally hope. The milder Grace seeks fulfilment in an apparently happy marriage. But as the decades pass and the characters weave in and out of each other's lives, love, death and two slow-burning secrets wait in ambush for them.

When friends die, one's own credentials change: one becomes a survivor. Graham Greene has already had biographers, one of whom has served him mightily. Yet I hope that there is room for the remembrance of a friend who knew him - not wisely, perhaps, but fairly well - on an island that was "not his kind of place," but where he came season after season, year after year & where he, too, will be subsumed into the capacious story.' For millennia the cliffs of Capri have sheltered pleasure-seekers & refugees alike, among them the emperors Augustus & Tiberius, Henry James, Rilke & Lenin, plus hosts of artists, eccentrics & outcasts. Here in the 1960s Graham Greene became friends with Shirley Hazzard & her husband, the writer Francis Steegmuller; their friendship lasted until Greene's death in 1991. In GREENE ON CAPRI, Hazzard uses their ever volatile intimacy as a prism through which to illuminate Greene's mercurial character, his work & talk & the extraordinary literary culture that long thrived on this ravishing, enchanted island.

The 'People in Glass Houses' work for an American-based concern devoted to 'inflicting improvement' the world over. Amongst them are sloppy but erudite Algie Wyatt, Swoboda, a Slav DP, who finally rebels against a daily inflow of documentation; modest Ashmole-Brown, whose surprise best-seller unseats Sadie Graine, the all-time corridor fixer; Jaspersen, who falls in and out of love with the Organization; and Clelia Kinslake, who meets the most critical non-crisis of her career in Crete. Shirley Hazzard's eight dazzling stories are linked by a scorching contempt for the Organization.

Spanning the 1960s to the 2000s, these nonfiction writings showcase Shirley Hazzard's extensive thinking on global politics, international relations, the history and fraught present of Western literary culture, and postwar life in Europe and Asia. They add essential clarity to the themes that dominate her award-winning fiction and expand the intellectual registers in which her writings work. Hazzard writes about her employment at the United Nations and the institution's manifold failings. She shares her personal experience with the aftermath of the Hiroshima atomic bombing and the nature of life in late-1940s Hong Kong. She speaks to the decline of the hero as a public figure in Western literature and affirms the ongoing power of fiction to console, inspire, and direct human life, despite-or maybe because of-the world's disheartening realities. Cementing Hazzard's place as one of the twentieth century's sharpest and most versatile thinkers, this collection also encapsulates for readers the critical events defining postwar letters, thought, and politics.

The Great Fire is Shirley Hazzard's first novel since The Transit of Venus, which won the National Book Critics Circle Award in 1981. The conflagration of her title is the Second World War. In war-torn Asia and stricken Europe, men and women, still young but veterans of harsh experience, must reinvent their lives and expectations, and learn, from their past, to dream again. Some will fulfill their destinies, others will falter. At the centre of the story, a brave and brilliant soldier finds that survival and worldly achievement are not enough. His counterpart, a young girl living in Occupied Japan and tending her dying brother, falls in love, and in the process discovers herself. In the looming shadow of world enmities resumed, and of Asia's coming centrality in world affairs, a man and a woman seek to recover self-reliance, balance, and tenderness, struggling to reclaim their humanity.

Collected Stories includes both volumes of National Book Award-winning author Shirley Hazzard's short story collections - Cliffs of Fall and People in Glass Houses - alongside uncollected works and two previously unpublished stories. Twenty-eight works of short fiction in all, Shirley Hazzard's Collected Stories is a work of staggering breadth and talent. Taken together, Hazzard's short stories are masterworks in telescoping focus, 'at once surgical and symphonic' (New Yorker), ranging from quotidian struggles between beauty and pragmatism to satirical sendups of international bureaucracy, from the Italian countryside to suburban Connecticut. In an interview, Hazzard once said, 'The idea that somebody has expressed something, in a supreme way, that it can be expressed; this is, I think, an enormous feature of literature'. Her stories themselves are a supreme evocation of writing at its very best: probing, uncompromising and deeply felt.

Spanning the 1960s to the 2000s, these nonfiction writings showcase Shirley Hazzard's extensive thinking on global politics, international relations, the history and fraught present of Western literary culture, and postwar life in Europe and Asia. They add essential clarity to the themes that dominate her award-winning fiction and expand the intellectual registers in which her writings work. Hazzard writes about her employment at the United Nations and the institution's manifold failings. She shares her personal experience with the aftermath of the Hiroshima atomic bombing and the nature of life in late-1940s Hong Kong. She speaks to the decline of the hero as a public figure in Western literature and affirms the ongoing power of fiction to console, inspire, and direct human life, despite-or maybe because of-the world's disheartening realities. Cementing Hazzard's place as one of the twentieth century's sharpest and most versatile thinkers, this collection also encapsulates for readers the critical events defining postwar letters, thought, and politics.

Passionate undercurrents sweep in and out of this eloquent novel about a love affair in the summer countryside in Italy and its inevitable end. It takes place in a setting of pastoral beauty during a time of celebration -- a festival. Sophie, half English, half Italian, meets Tancredi, an Italian who is separated from his wife and family. In telling the story of their love affair, author Shirley Hazzard punctures the placid surface of polite Italian society to reveal the intense yearnings and surprising responses in sophisticated people caught up in emotions they do not always understand.

Collected Stories includes both volumes of National Book Award-winning author Shirley Hazzard's short story collections - Cliffs of Fall and People in Glass Houses - alongside uncollected works and two previously unpublished stories. Twenty-eight works of short fiction in all, Shirley Hazzard's Collected Stories is a work of staggering breadth and talent. Taken together, Hazzard's short stories are masterworks in telescoping focus, 'at once surgical and symphonic' (New Yorker), ranging from quotidian struggles between beauty and pragmatism to satirical sendups of international bureaucracy, from the Italian countryside to suburban Connecticut. In an interview, Hazzard once said, 'The idea that somebody has expressed something, in a supreme way, that it can be expressed; this is, I think, an enormous feature of literature'. Her stories themselves are a supreme evocation of writing at its very best: probing, uncompromising and deeply felt.

The Transit of Venus is considered Shirley Hazzard's most brilliant novel. It tells the story of two orphan sisters, Caroline and Grace Bell, as they leave Australia to start a new life in post-war England. What happens to these young women--seduction and abandonment, marriage and widowhood, love and betrayal--becomes as moving and wonderful and yet as predestined as the transits of the planets themselves. Gorgeously written and intricately constructed, Hazzard's novel is a story of place: Sydney, London, New York, Stockholm; of time: from the fifties to the eighties; and above all, of women and men in their passage through the displacements and absurdities of modern life.

The scene is Naples, against whose ancient and fantastic background the modern action takes place. Among the protagonists is Jenny, young and pretty, who has come to Naples in flight from a sombre drama, unaware that a larger drama waits her there. She has an introduction to a Neapolitan woman, and one day she idly follows it up. This is her leap through the looking glass.

Only those who keep their wit and affections about them will survive the mass conditioning of the Organization, where confusion solemnly rules and conformity is king. As in our world itself, humanity prevails in the courage, love, and laughter of singular spirits--of men and women for whom life is an adventure no Organization can quell, and whose souls remain their own.

From the author of "The Great Fire," a collection of stories about love and acceptance, expectations and disappointment
Shirley Hazzard's stories are sharp, sensitive portrayals of moments of crisis. Whether they are set in the Italian countryside or suburban Connecticut, the stories deal with real people and real problems.
In the title piece, a young widow is surprised and ashamed by her lack of grief for her husband.
In "A Place in the Country," a young woman has a passionate, guilty affair with her cousin's husband. In "Harold," a gawky, lonely young man finds acceptance and respect through his poetry.
Moving and evocative, these ten stories are written with subtlety, humor, and a keen understanding of the relationships between men and women.

Long out of print, Shirley Hazzard's classic novel of love and memory

A young Englishwoman working in Naples, Jenny comes to Italy fleeing a history that threatened to undo her. Alone in the fabulously ruined city, she idly follows up a letter of introduction from an acquaintance and so changes her life forever. Through the letter, she meets Giocanda, a beautiful and gifted writer, and Gianni, a famous Roman film director and Giocanda’s lover. At work she encounters Justin, a Scotsman whose inscrutability Jenny finds mysteriously attractive. As she becomes increasingly involved in the lives of these three, she discovers that the past--and the patterns of a lifetime--are not easily discarded.

In the words of "Time "magazine, ""A near perfect novel...a small masterpiece"" by the author of" The Great Fire"
Passionate undercurrents sweep in and out of this eloquent novel about a love affair in a summer countryside in Italy and its inevitable end. It takes place in a setting of pastoral beauty during a time of celebration--a festival.
Sophie, half English, half Italian, meets Tancredi, an Italian who is separated from his wife and family. In telling the story of their love affair, Shirley Hazzard punctures the placid surface of polite Italian society to reveal the intense yearnings and surprising responses in sophisticated people caught up in emotions they do not always understand.

The "fascinating and irresistible" (The New York Times) portrait of a great but difficult man and a legary island.

When friends die, one's own credentials change: one becomes a survivor. Graham Greene has already had biographers, one of whom has served him mightily. Yet I hope that there is room for the remembrance of a friend who knew him-not wisely, perhaps, but fairly well-on an island that was "not his kind of place," but where he came season after season, year after year; and where he, too, will be subsumed into the capacious story.

For millennia the cliffs of Capri have sheltered pleasure-seekers and refugees alike, among them the emperors Augustus and Tiberius, Henry James, Rilke, and Lenin, and hosts of artists, eccentrics, and outcasts. Here in the 1960s Graham Greene became friends with Shirley Hazzard and her husband, the writer Francis Steegmuller; their friendship lasted until Greene's death in 1991. In Greene on Capri, Hazzard uses their ever volatile intimacy as a prism through which to illuminate Greene's mercurial character, his work and talk, and the extraordinary literary culture that long thrived on this ravishing, enchanted island.