Nigel Molesworth, the curse of St. Custard's school, is known to his huge army of fans through Geoffrey Willans' four books Down with Skool!, How to be Topp, Whizz for Atomms and Back in the Jug Agane, first published between 1953 and 1958, and illustrated by Ronald Searle. Much less famous are the Molesworth diaries that appeared in the magazine Punch between August 1939 and December 1942. This volume is an opportunity to discover a slightly different Molesworth - less philosophical than the boy portrayed in the books, but equally as sardonic, knowing and cynical. The diaries are an introduction to the world and mind of Molesworth, and as such are essential reading for Molesworth fans - all of whom are, of course, "conoisuers of prose and luvers of literature".
1001 Children's Books You Must Read Before You Grow Up is the perfect introduction to the very best books of childhood: those books that have a special place in the heart of every reader. It introduces a wonderfully rich world of literature to parents and their children, offering both new titles and much-loved classics that many generations have read and enjoyed. From wordless picture books and books introducing the first words and sounds of the alphabet through to hard-hitting and edgy teenage fiction, the titles featured in this book reflect the wealth of reading opportunities for children.Browsing the titles in 1001 Children's Books You Must Read Before You Grow Up will take you on a journey of discovery into fantasy, adventure, history, contermporary life, and much more. These books will enable you to travel to some of the most famous imaginary worlds such as Narnia, Middle Earth, and Hogwart's School. And the route taken may be pretty strange, too. You may fall down a rabbit hole, as Alice does on her way to Wonderland, or go through the back of a wardrobe to reach the snowy wastes of Narnia.
This book focuses on the multiple and diverse masculinities ‘at work’. Spanning both historical approaches to the rise of ‘profession’ as a marker of masculinity, and critical approaches to the current structures of management, employment and workplace hierarchy, the book questions what role masculinity plays in cultural understandings, affective experiences and mediatised representations of a professional ‘career’.
Nothing escapes Nigel Molesworth's disaffected eye and he has little time for such things as botany, walks, poetry, snekes and oiks. Instead he is very good at missing lessons, charming masters and putting down little brothers.
I am aware that, once my pen intervenes, I can make whatever I like out of what I was.' Paul Valéry, Moi. Modernism is often characterized as a movement of impersonality; a rejection of auto/biography. But most of the major works of European modernism and postmodernism engage in very profound and central ways with questions about life-writing. Max Saunders explores the ways in which modern writers from the 1870s to the 1930s experimented with forms of life-writing - biography, autobiography, memoir, diary, journal - increasingly for the purposes of fiction. He identifies a wave of new hybrid forms from the late nineteenth century and uses the term 'autobiografiction' - discovered in a surprisingly early essay of 1906 - to provide a fresh perspective on turn-of-the-century literature, and to propose a radically new literary history of Modernism. Saunders offers a taxonomy of the extraordinary variety of experiments with life-writing, demonstrating how they arose in the nineteenth century as the pressures of secularization and psychological theory disturbed the categories of biography and autobiography, in works by authors such as Pater, Ruskin, Proust, 'Mark Rutherford', George Gissing, and A. C. Benson. He goes on to look at writers experimenting further with autobiografiction as Impressionism turns into Modernism, juxtaposing detailed and vivacious readings of key Modernist texts by Joyce, Stein, Pound, and Woolf, with explorations of the work of other authors - including H. G. Wells, Henry James, Joseph Conrad, Ford Madox Ford, and Wyndham Lewis - whose experiments with life-writing forms are no less striking. The book concludes with a consideration of the afterlife of these fascinating experiments in the postmodern literature of Nabokov, Lessing, and Byatt. Self Impression sheds light on a number of significant but under-theorized issues; the meanings of 'autobiographical', the generic implications of literary autobiography, and the intriguing relation between autobiography and fiction in the period.
How was American culture disseminated into Britain? Why did many British citizens embrace American customs? And what picture did they form of American society and politics? This engaging and wide-ranging history explores these and other questions about the U.S.'s cultural and political influence on British society in the post-World War II period.
British Summer Time Begins is about summer holidays of the mid-twentieth century and how they were spent, as recounted to Ysenda Maxtone-Graham in vividly remembered detail by people who were there. Through this prism, it paints a revealing portrait of twentieth-century Britain in summertime: how we were, how families functioned, what houses and gardens and streets were like, what journeys were like, and what people did all day in their free time. It explores their expectations, hopes, fears and habits, the rules or lack of rules under which they lived, their happiness and sadness, their sense of being treasured or neglected - all within living memory, from pre-war summers to the late 1970s. Ysenda takes us back to the long stretch of time from the last days of June till the early days of September - those months when the term-time self was cast off and you could become the person you really were, and you had (if you were lucky) enough hours in the endless succession of days to become good at the things that would later define your adulthood. The 'showpiece' part of the summer holidays was 'the summer holiday', when families took off to the seaside, or to grandparents' houses teeming with cousins, or on early package holidays to France or Spain, siblings wedged into the back of small cars, roof-racks clattering, mothers preparing picnics. British Summer Time Begins is as much about the long weeks either side of that holiday as the trip itself: the weeks when nothing much officially happened, boredom often lurked nearby, and you vanished for hours on end, nobody much knowing or even caring where you were. Could it be that those unscheduled days were actually the most important and formative of your life? From the author of the beloved Terms & Conditions, British Summer Time Begins is a delightful, nostalgic and joyous celebration of summers.
