In the heart of a civil war-torn African nation, primate researcher Hope Clearwater made a shocking discovery about apes and man. . . .

Young, alone, and far from her family in Britain, Hope Clearwater contemplates the extraordinary events that left her washed up like driftwood on Brazzaville Beach. It is here, on the distant, lonely outskirts of Africa, where she must come to terms with the perplexing and troubling circumstances of her recent past. For Hope is a survivor of the devastating cruelties of apes and humans alike. And to move forward, she must first grasp some hard and elusive truths: about marriage and madness, about the greed and savagery of charlatan science, and about what compels seemingly benign creatures to kill for pleasure alone.

Soldier. Farmer. Felon. Writer. Father. Lover. One man, many lives. Born in 1799, Cashel Greville Ross experiences myriad lives: joyous and devastating, years of luck and unexpected loss. Moving from County Cork to London, from Waterloo to Zanzibar, Cashel seeks his fortune across continents in war and in peace. He faces a terrible moral choice in a village in Sri Lanka as part of the East Indian Army. He enters the world of the Romantic Poets in Pisa. In Ravenna he meets a woman who will live in his heart for the rest of his days. As he travels the world as a soldier, a farmer, a felon, a writer, a father, a lover, he experiences all the vicissitudes of life and, through the accelerating turbulence of the nineteenth century, he discovers who he truly is. This is the romance of life itself, and the beating heart of The Romantic. From one of Britain's best-loved and bestselling writers comes an intimate yet panoramic novel set across the nineteenth century. 'Picaresque, big-hearted and moving, this is Boyd at the top of his game' Guardian 'There are few reading pleasures as great as giving in to a William Boyd novel' Sunday Times 'One of our best contemporary storytellers' Spectator 'Simply the best realistic storyteller of his generation' Sebastian Faulks

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.

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.

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.

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.

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.

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.

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.

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.

It's 1969, and, having just celebrated his forty-fifth birthday, James Bond--British special agent 007--is summoned to headquarters to receive an unusual assignment. Zanzarim, a troubled West African nation, is being ravaged by a bitter civil war, and M directs Bond to quash the rebels threatening the established regime. Bond's arrival in Africa marks the start of a feverish mission to discover the forces behind this brutal war--and he soon realizes the situation is far from straightforward. Piece by piece, Bond uncovers the real cause of the violence in Zanzarim, revealing a twisting conspiracy that extends further than he ever imagined.

Moving from rebel battlefields in West Africa to the closed doors of intelligence offices in London and Washington, this novel is at once a gripping thriller, a tensely plotted story full of memorable characters and breathtaking twists, and a masterful study of power and how it is wielded--a brilliant addition to the James Bond canon.

One of the unique features of the Georgia coast today is its thorough conservation. At first glance, it seems to be a place where nature reigns. But another distinctive feature of the coast is its deep and diverse human history. Indeed, few places that seem so natural hide so much human history. In Coastal Nature, Coastal Culture, editors Paul S. Sutter and Paul M. Pressly have brought together work from leading historians as well as environmental writers and activists that explores how nature and culture have coexisted and interacted across five millennia of human history along the Georgia coast, as well as how those interactions have shaped the coast as we know it today. The essays in this volume examine how successive communities of Native Americans, Spanish missionaries, British imperialists and settlers, planters, enslaved Africans, lumbermen, pulp and paper industrialists, vacationing northerners, Gullah-Geechee, nature writers, environmental activists, and many others developed distinctive relationships with the environment and produced well-defined coastal landscapes. Together these histories suggest that contemporary efforts to preserve and protect the Georgia coast must be as respectful of the rich and multifaceted history of the coast as they are of natural landscapes, many of them restored, that now define so much of the region.

Artist Nathwell Tate was born in 1928 in Union Beach, New Jersey. On January 8 1960 he contrived to round up and burn almost his entire output of Abstract Expressionism. Four days later he killed himself. This book offers an account of Tate's life and work which can be seen either as straight art biography or as fiction. It is an investigation of the blurry line between the invented and the authentic, the wholly false and the utterly real.

Vienna, 1913. Lysander Rief, a young English actor in town seeking psychotherapy, is caught up in a feverish affair with a beautiful, enigmatic woman--until she goes to the police to press charges of rape. Only a frenzied getaway plotted by two mysterious British diplomats saves him from trial. But after Lysander returns to a London on the cusp of war, the traumatic ordeal haunts him at every turn. The men who coordinated his escape recruit him to carry out a brutal murder. His lover shows up at a party, ready to resume their liaison. Suddenly plunged into the dangerous theater of wartime intelligence--a murky world of sex, scandal, and spies--Lysander must unravel a secret that threatens Britain's safety.

Moving from Vienna to London's West End, from the battlefields of France to hotel rooms in Geneva, Waiting for Sunrise is a mesmerizing journey into the human psyche, a beautifully observed portrait of wartime Europe, a plot-twisting thriller, and a literary tour de force.

One May evening in London, Adam Kindred, a young climatologist in town for a job interview, is feeling good about the future as he sits down for a meal at a little Italian bistro. He strikes up a conversation with a solitary diner at the next table, who leaves soon afterward. With horrifying speed, this chance encounter leads to a series of malign accidents, through which Adam loses everything--home, family, friends, job, reputation, passport, credit cards, cell phone--never to get them back.

William Boyd's electrifying follow-up to the Costa Award-winning Restless, Ordinary Thunderstorms is a profound and gripping novel about the fragility of social identity, the corruption at the heart of big business, and the secrets that lie hidden in the seamy underbelly of every city.

At the beginning of 2020, just as global Covid-19 restrictions were coming into force, the artist David Hockney was at his house, studio and garden in Normandy. From there, he witnessed the arrival of spring, and recorded the blossoming of the surrounding landscape on his iPad, a medium he has been using for over a decade. Working outdoors was an antidote to the anxiety of the moment for Hockney – 'We need art, and I do think it can relieve stress,' he says. This uplifting publication – produced to accompany a major exhibition at the Royal Academy of Arts – includes 116 of his new iPad paintings and shows to full effect Hockney's singular skill in capturing the exuberance of nature.

'One of Britain's most celebrated contemporary novelists' Sunday Times In this probing series of exclusive interviews, Alistair Owen talks to William Boyd about his works and the life which has inspired them. The conversations which emerge are a deep-dive into film, art, theatre, literature and the life of a writer. This is one of Britain's most beloved authors on what it is to write in a variety of forms. 'William Boyd has probably written more classic books than any of his contemporaries' Daily Telegraph 'Arguably one of Britain's finest living writers' Sunday Express