He had an extraordinary Broadway career, wrote 90 novels and story collections, and among his immortal characters are Jeeves and the Empress of Blandings. McCrum's magisterial biography chronicles the achievements and shadows of a gilded life.
Beloved British humorist P.G. Wodehouse produced a wealth of literature in his lengthy career, contributing novels, short stories, plays, lyrics and essays to the canon of comic writing. His work in film and television included two stints as a screenwriter in Hollywood in the 1930s, and his stories have been the basis for more than 150 film and television productions. He also wrote 20 stories and essays about Hollywood, satirizing the city and its entertainment magnates. This book studies P.G. Wodehouse's extensive, but often overlooked relationship with Tinsel Town. The book is arranged chronologically, covering Wodehouse's Hollywood career from his early efforts in silent film, to his later contributions in television, to his work adapted posthumously for the screen. Radio is covered as well, including a discussion of his internment in occupied France and his brief appearances on German radio. Reflecting Wodehouse's international appeal, the book covers Wodehouse films and television in England, Germany, Sweden, and India. Also included are a comprehensive, detailed list of Wodehouse's stories and articles about Hollywood, and a complete filmography of motion picture and television works to which he contributed or which were based on his stories.
Stephanie "Stiffy" Truscott has a talent for trouble and no fewer than six aunts, every one of whom considers the best place for her to be over the knee. They object to her driving, her dancing, but most of all to her choice of fiance; and as she attempts to evade their preferred form of justice, she only manages to dig herself in deeper. After stealing her prospective father-in-law's prize pig and being tricked into joining the local fascists, she knows that the least she can expect is to have her bare bottom caned in front of a large audience, but still she tries to wriggle free.
The eccentric and entertaining Mr. Mulliner is always ready with a tale for his willing audience at the Anglers’ Rest pub. He’s a master storyteller, and, in the finest tradition of fishermen everywhere, his stories are absolute whoppers, each featuring his illustrious—and sometimes outlandish—relatives. The Mulliners are, to a person, witty, talented, and unflappable, and yet they continually find themselves in the sort of pickles that only P. G. Wodehouse could create. This collection contains all of the Mr. Mulliner stories that are in the U.S. public domain. This book is part of the Standard Ebooks project, which produces free public domain ebooks.
"Meet Mr Mulliner" by P. G. Wodehouse. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
On the heels of I Am the Brother of XX and These Possible Lives, here is Jaeggy's fabulously witchy first book in English, with a new Peter Mendelsund cover A novel about obsessive love and madness set in postwar Switzerland, Fleur Jaeggy’s eerily beautiful novel begins innocently enough: “At fourteen I was a boarder in a school in the Appenzell.” But there is nothing innocent here. With the off-handed remorselessness of a young Eve, the narrator describes her potentially lethal designs to win the affections of Fréderique, the apparently perfect new girl. In Tim Parks’ consummate translation (with its “spare, haunting quality of a prose poem,” TLS), Sweet Days of Discipline is a peerless, terrifying, and gorgeous work.
Certain Artists makes for compelling reading. Huysmans’ idiosyncratic assessments throw light on his aesthetic preoccupations, past and present, and hint at the spiritual journey he was about to undertake. It includes over 140 black and white illustrations, as well as an introduction, setting the book in the context of its time, comprehensive notes, and a glossary of the artists mentioned. First published in 1889, but never before translated into English, this second collection of J.-K. Huysmans’ art criticism serves as a companion to the author’s iconoclastic Modern Art (L’Art moderne) of 1883. Unlike the earlier volume, Huysmans wastes little time lambasting the art of the establishment, the Academic painters whose work had lined the annual Salon for years. Instead, he concentrates on a series of his own artistic enthusiasms, which he explores with his trademark spleen and invective. There are extended analyses of Edgar Degas’s controversial portraits of women at their toilette; of Odilon Redon’s monstrous and disturbing engravings, of Gustave Moreau’s heiratic paintings that had such a powerful influence on Against Nature; and of Félicien Rops, whose Satanic engravings, particularly his images of women as agents of the devil, would haunt Huysmans’ subsequent novel, Là-bas, of 1891.
'NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.