Penguin Classics is proud to welcome William Trevor—"Ireland’s answer to Chekhov" (The Boston Globe) and "one of the best writers of our era" (The Washington Post)—to our distinguished list of literary masters. In this award-winning novel, an informer’s body is found on the estate of a wealthy Irish family shortly after the First World War, and an appalling cycle of revenge is set in motion. Led by a zealous sergeant, the Black and Tans set fire to the family home, and only young Willie and his mother escape alive. Fatherless, Willie grows into manhood while his alcoholic mother’s bitter resentment festers. And though he finds love, Willie is unable to leave the terrible injuries of the past behind. First time in Penguin Classics Winner of the Whitbread Novel of the Year Award
“Dear Readers and Booksellers: If you have not yet experienced the great pleasure of a story by William Trevor, I urge you to read this new novel, and to set it in pride of place in your stores. Because the haunting story of Lucy Gault will not fail to capture you with its mystery, its compassion, and the beauty of its writing.” -- Louise Dennys, Executive Publisher, Knopf Canada William Trevor is beloved around the world as one of the finest writers today -- and with just cause: his new novel is a masterpiece of love and loss, and lives suspended in time. Lucy Gault is nine when her parents are faced with the agonizing decision to flee Ireland to be safe from the violence that privilege and Lucy’s English mother have brought upon them -- or to stay in their home and risk losing it to the threat of arson. Lucy cannot bear the thought of leaving Lahardane’s beautiful pastureland, the seashore below pale clay cliffs, and the nameless dog that has become her companion. So she runs away into the nearby woods to convince her parents to stay. Instead, her actions begin the unravelling of her family when they find two bits of her clothing and conclude she has thrown herself into the sea. Now desperate to be rid of the place where their much-loved daughter has died, Captain and Heloise Gault set off to wander restlessly across Europe. In the Lahardane woods, two weeks after the Gaults have gone, the groundskeeper finds the child lying lame and half-dead. He and his wife become Lucy’s life companions as she keeps a 30-year vigil of love and guilt waiting for her parents’ return.
This book is about a history of the vice in ancient and modern times all over the world and makes an exposition of its alarming prevalence and destructive effects. This work discusses with an unreserved and exhaustive disclosure of such frauds, tricks and devices as are practiced by "Professional" gamblers, "Confidence Men" and "Bunko Steerers", in order to alert readers not to fall into a trap.
William Trevor's Last Stories is forthcoming from Viking. In Reading Turgenev, which was shortlisted for the Booker Prize, an Irish country girl is trapped in a loveless marriage with an older man, but finds release through secret meetings with a man who shares her passion for Russian novels. My House in Umbra tells of Emily Delahunty, a writer of romantic novels, who helps survivors of a bomb attack on a train to convalesce, inventing colorful pasts for her patients. Two novels, two women who retreat further into the realm of the imagination until the boundaries between what is real and what is not become blurred.
Full of hope, seventeen-year old Felicia crosses the Irish sea to the English Midlands in search of her lover Johnny to tell him she is pregnant. Unable to find him, alone and desperate, she is found instead by Mr. Hilditch, an obese catering manger, collector and befriender of homeless girls, who is also searching — in a way Felicia could never have imagined...
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
It?s summer and nothing much is happening in Rathmoye. So it doesn?t go unnoticed when a dark-haired stranger appears on his bicycle and begins photographing the mourners at Mrs. Connulty?s funeral. Florian Kilderry couldn?t know that the Connultys are said to own half the town: he has only come to Rathmoye to photograph the scorched remains of its burnt- out cinema. A few miles out in the country, Dillahan, a farmer and a decent man, has married again: Ellie is the young convent girl who came to work for him when he was widowed. Ellie leads a quiet, routine life, often alone while Dillahan runs the farm. Florian is planning to leave Ireland and start over. Ellie is settled in her new role as Dillahan?s wife. But Florian?s visit to Rathmoye introduces him to Ellie, and a dangerously reckless attachment begins. In a characteristically masterly way Trevor evokes the passions and frustrations felt by Ellie and Florian, and by the people of a small Irish town during one long summer.
Australia's prosperity relies on the continent's extraordinary natural -- primarily mineral -- riches and good fortune. But economic, financial, environmental, geopolitical and societal pressures now threaten the nation's high living standards. The COVID-19 pandemic is the first of many trials to come. Lacklustre reform proposals are mired in ideological necrophilia: ideas which have been tried and failed. Politics is trading insults and slogans. Institutions lack the quality, skills, organisational memory and courage to deliver the required solutions. A disengaged citizenry are focused on preserving their entitled way of life, refusing to accept that the well of plenty is approaching exhaustion. Critics are derided as permanent professional pessimists, the doubting Irishman Hanrahan in John O'Brien's poem warning of 'roon'. Cognitive dissonance is a national religion. Written in accessible, acerbic prose, Fortune's Fool cuts through these issues to expose Australia's current dilemmas and choices. It dissects the pandemic, global trends, Australia's narrow 'house and holes' economy and its dependency on China, spotlighting a political paralysis that must be overcome and the changes that are urgently needed. For Australians remotely concerned about their own future and their children's, as well as the country's, Fortune's Fool is essential reading.
In 1999, when Napster made music available free online, the music industry found itself in a fight for its life. A decade later, the most important and misunderstood story—and the one with the greatest implications for both music lovers and media companies—is how the music industry has failed to remake itself. In Fortune’s Fool, Fred Goodman, the author of The Mansion on the Hill, shows how this happened by presenting the singular history of Edgar M. Bronfman Jr., the controversial heir to Seagram’s, who, after dismantling his family’s empire and fortune, made a high-stakes gamble to remake both the music industry and his own reputation. Napster had successfully blown the industry off its commercial foundations because all that the old school label heads knew how to do was record and market hits. So when Bronfman took over the Warner Music Group in 2004, his challenge was to create a new kind of record executive. Goodman finds the source of the crisis in the dissolution of the old Warner Music Group, the brilliant conglomerate of Atlantic, Elektra, and Warner Bros. Records. He shows how Doug Morris, the head of Atlantic Records, rose through the ranks and rode the CD bonanza of the 1990s to enormous corporate and personal profit before becoming embroiled in an ego-driven corporate turf war, and how all of Warner’s record executives were blindsided when AOL/Time-Warner announced in 2003 that it wanted nothing more to do with the record industry. When the music group was finally sold to Bronfman, it was a ghost of itself. Bronfman built an aggressive, streamlined team headed by Lyor Cohen, whose relentless ambition and discipline had helped build Def Jam Records. They instituted a series of daring initiatives intended to give customers legitimate online music choices and took market share from Warner’s competitors. But despite these efforts, illegal downloads still outnumber legitimate ones 19–1. Most of the talk of a new world of music and media has proven empty; despite the success of iTunes, even wildly popular sites like YouTube and MySpace have not found a way to make money with music. Instead, Warner and the other labels are diversifying and forcing young artists to give them a cut of their income from touring, publishing, and merchandising. Meanwhile, the average downloader isn’t even meeting forward-thinking musicians halfway. Each time a young band finds a following through music websites, it’s a unique story; no formula has emerged. If one does, Warner is probably in a better position than anyone to exploit it. But at the end of the day, If is the one-word verdict on Bronfman’s big bet.
