Fowles was a writer who always seemed content to remain in the shadows, on the edge of things. He would emerge now and again to play the part of the cantankerous recluse, but he was, in essence a private, even hermetic man.
Even the greatest deeds of brave men can be forgotten in the mists of time – even when those deeds have a direct impact on how our world is organized today.
Like its predecessor, The Victorians, this book is a portrait of an age, rather than a formal history.
Eric Ambler (1909-1998) was one of the foremost architects of espionage fiction as it exists today. Like his predecessor Somerset Maugham, Ambler sought to transform the genre from the verbal banality and minimal characterizations of authors William Le Queux and Edward Oppenheim to a more sophisticated, morally ambiguous world of deception and danger.
But, even more importantly, he also struck the first modern note in the evolution of the genre with respect to the degree of personal doubt and insecurity that over-shadows the mission – the same note, albeit greatly amplified, that is found in the novels of such well-known successors as Eric Ambler, Graham Greene, and John Le Carré, whose spy stories may be correctly seen, in part at least, as a continuance of John Buchan and the Hannay Quartet.
It is of all the Celtic kingdoms the greenest and most beautiful. Palms, wisteria, and camellias grow in Cornish gardens. Bluebells and small wild orchids bloom beside the coastal path, that winds along meadow edges above the cliffs and surf.
The diary of Tatiana (Tatiana Maslany), a 14-year-old, drug-addicted prostitute who dies while giving birth to a daughter in a London hospital, sets the film in motion. Her account of how and why she came to London—provided by periodic voice-overs as the diary is translated from Russian—offers a back story of the mob’s involvement in white slavery and English brothels.
The Pre-Raphaelites shared several treasured ideals, but their painting styles varied greatly. The two transcendent themes, especially in their early work, were “truth to nature” and the power of religious faith. They aimed to depict the natural world with great fidelity, while evoking spiritual values as medieval artists had done.
There’s a fascinating blend of flag waver and felon in the English bulldog character created by Bob Hoskins in The Long Good Friday. Comparing his homeland with that of a visiting American Mafiosi, Shand says, “Look what England has given to the world: culture, sophistication, genius. A little bit more than the hot dog, know what I mean?”
The twisting, amusing heist movie was written and directed by Guy Ritchie, a 29-year-old Brit who never went to film school and learned his craft by creating music videos and TV commercials. Unfortunately, as we see it, this feature-length debut also serves as the high point of Ritchie’s career—unless you count his eight-year marriage to Madonna.
By calling her newest novel NW, Zadie Smith follows in the tradition of other writers, including Mary Gaskell, George Eliot, and Winifred Holtby, who have named the work after the setting. Like its predecessors, NW is an ensemble novel that explores human nature through a microcosm of the world, a technique that has historically appealed to women writers. Jane Austen famously said her work, containable on a “little bit (two inches wide) of Ivory,” was about “four or five families in a country village.”
Europe had yet to recover from the First World War and the Allied peoples were at a grave psychological disadvantage in comparison with the civilian population of Nazi Germany. Through nearly a decade of political indoctrination, news censorship and threats of imprisonment or worse, the German people were schooled for war. To Orwell, the only things that could shake the British out of their complacency were the drone of the engines of German aircraft over London and the detonation of the bombs they dropped.