A Far Cry From Kensington

Mrs Hawkins, a comfortably large young widow, is often called upon to administer advice to colleagues and neighbours. But she follows her own advice, too, and turns from Mrs Hawkins into Nancy: quite a different proposition.

Where does art start or reality end? Happily loitering about London, c. 1949, with the intent of gathering material for her writing, Fleur Talbot finds a job “on the grubby edge of the literary world” at the very peculiar Autobiographical Association. Mad egomaniacs writing their memoirs in advance — or poor fools ensnared by a blackmailer? When the association’s pompous director steals Fleur’s manuscript, fiction begins to appropriate life.

A slender satirical gem from the “master of malice and mayhem” (The New York Times) The Ballad of Peckham Rye is a wickedly farcical tale of an English factory town turned upside-down by a Scot who may or may not be in league with the Devil. Dougal Douglas is hired to do “human research” into the lives of the workers, Douglas stirs up mutiny and murder.

"The short dirk in the hands of Muriel Spark has always been a deadly weapon," said The New York Times, and "never more so than in The Abbess of Crewe." An elegant little fable about intrigue, corruption, and electronic surveillance, The Abbess of Crewe is set in an English Benedictine convent. Steely and silky Abbess Alexandra (whose aristocratic tastes run to pâté, fine wine, English poetry, and carpets of "amorous green") has bugged the convent, and rigged her election. But the cat gets out of the bag, and--plunged into scandal--the serene Abbess faces a Vatican inquiry.

"Long ago in 1945 all the nice people in England were poor, allowing for exceptions," begins The Girls of Slender Means, Dame Muriel Spark's tragic and rapier-witted portrait of a London ladies' hostel just emerging from the shadow of World War II. Like the May of Teck Club itself—"three times window shattered since 1940 but never directly hit"—its lady inhabitants do their best to act as if the world were back to normal: practicing elocution, and jostling over suitors and a single Schiaparelli gown. The novel's harrowing ending reveals that the girls' giddy literary and amorous peregrinations are hiding some tragically painful war wounds. Chosen by Anthony Burgess as one of the Best Modern Novels in the Sunday Times of London, The Girls of Slender Means is a taut and eerily perfect novel by an author The New York Times has called "one of this century's finest creators of comic-metaphysical entertainment."

Available at last are all the poems by one of the twentieth century's greatest British writers, Dame Muriel Spark: "a true literary artist, acerbic and exhilarating" (London Evening Standard). In the seventy-three poems collected here Muriel Spark works in open forms as well as villanelles, rondels, epigrams, and even the tour de force of a twenty-one page ballad. She also shows herself a master of unforgettable short poems. Before attaining fame as a novelist (Memento Mori, The Prime of Miss Jean Brodie), Muriel Spark was already an acclaimed poet. The "power and control" of her poetry, as Publishers Weekly remarked, "is almost startling." With the vitality and wit typical of all her work, Dame Muriel has never stopped writing poems, which frequently appear in The New Yorker. As with all her creations, the poems show Spark to be "astonishingly talented and truly inimitable" (The San Francisco Chronicle).

Muriel Spark's bracingly salty memoir is a no-holds-barred trip through an extraordinary writer's life.

A high-flying fantasy “packed with bold adventure and sizzling sensuality”—first in the series by the New York Times bestselling author (RT Book Reviews). It’s not always easy being a female warrior with a nickname like Annwyl the Bloody. Men tend to either cower in fear—a lot—or else salute. It’s true that Annwyl has a knack for decapitating legions of her ruthless brother’s soldiers without pausing for breath. But just once it would be nice to be able to really talk to a man, the way she can talk to Fearghus the Destroyer. Too bad that Fearghus is a dragon, of the large, scaly, and deadly type. With him, Annwyl feels safe—a far cry from the feelings aroused by the hard-bodied, arrogant knight Fearghus has arranged to help train her for battle. With her days spent fighting a man who fills her with fierce, heady desire, and her nights spent in the company of a magical creature who could smite a village just by exhaling, Annwyl is sure life couldn't get any stranger. She’s wrong . . . And just wait until you meet the rest of the family . . . Praise for the Dragon Kin Series “Aiken’s patented mix of bloodthirsty action, crazy scenarios and hilarious dialogue have made this series a truly unique pleasure.”—RT Book Reviews (4½ Stars) “A chest thumping, mead-hall rocking, enemy slaying brawl of a good book.”—All Things Urban Fantasy “Laugh-out-loud funny—I loved it!”—Thea Harrison, New York Times bestselling author