Jane Gardam5.0 Eliza Peabody is one of those dangerously blameless women who believe they have God in their pocket. She is a modern-day Florence Nightingale, always up at the Hospice or the Wives' club; she is too enthusiastic; she talks too much. Her concern for the welfare of her wealthy south London neighbours even extends to ingenuous, well-meaning notes of unsolicited advice under the door.
It is just such a one-sided correspondence that heralds Eliza's undoing. Did her letter have something to do with Joan's abrupt disappearance from number forty-one? What to make of the long absences of her husband and Joan's, and of the two men's new, inseparable friendship? And why will no one else on Rathbone Road speak of Joan? As Eliza's own life seems to disintegrate, she finds that, despite the pity and embarrassment with which her neighbours greet her, she is at last being drawn into their lives - although not in the way she had once fantasised about. This is a sharp, poignant and wickedly funny tale of love, heartache and disillusionment.
Гордон Берн0.0 How does it feel to be never allowed to die? In his classic debut novel, Gordon Burn takes Britain's biggest selling vocalist of the 1950s and turns her story into an equation of celebrity and murder. Fictional characters jostle for space with real life stars - from John Lennon to Doris Day and Sammy Davis Jnr - as Burn, in a breathtaking act of appropriation, reinvents the popular culture of the post-war years. As beautifully written as it is disturbing, Alma Cogan remains a stingingly relevant exploration of the sad, dark underside of fame.
'An extraordinary, unprecedented novel. Audacious, innovative and totally compelling.' William Boyd
Диана Хендри0.0 HENRY MIRABA CADA HERRAMIENTA, ÉSTAS PARECÍAN PERFECTAMENTE NORMALES; ENTONCES ESCUCHÓ EL TIC TAC... DESPUÉS DE OBSERVAR EL RELOJ DURANTE DIEZ RÁPIDOS TICS Y OCHO LENTOS TACS, HENRY COMENZÓ A ENTENDERLO. Y LO QUE LEYÓ EN LA CARÁTULA LO HIZO PONERSE TAN BLANCO COMO LAS NUEVAS FLORES DEL JARDÍN.
Майкл Лонгли0.0 Emerging, as it did, after over a decade of silence, Gorse Fires had an immediate and resounding impact - revealing a poetry that seemed renewed and re-energised - and winning the Whitbread Prize for Poetry in 1991. It is now regarded as the pivotal book in Michael Longley's distinguished career. If Ireland remains Longley's starting-point or implied focus, it is often sighted through disturbing perspectives that derive from foreign cultures, from Homer's Odyssey, from the Second World War, and from the Holocaust. Even his beautifully precise poems about the West of Ireland are shadowed by the many destructive forces ranged against the creative act. Longley's versions of Odysseus' return to Ithaca and 'Ghetto' (based on the Polish ghettoes) epitomise his concern with the meaning of home and family. He sees these archetypes of Western civilisation as vulnerable, problematic, violated by power. Odysseus' homecoming involves murder and vengeance as well as reunions - a connection with the ambiguities of life in Northern Ireland. Gorse Fires is an unusual artistic blend: darkly austere, yet abundant in images, catalogues and syntactical virtuosity. The formal links between poems gives the whole collection the air of a richly varied sequence; it is a work of the highest order. Winner of the Whitbread Prize for Poetry.
As he magnificently combines meticulous scholarship with irresistible narrative appeal, Richardson draws on his close friendship with Picasso, his own diaries, the collaboration of Picasso's widow Jacqueline, and unprecedented access to Picasso's studio and papers to arrive at a profound understanding of the artist and his work. 800 photos.
Книга названа КНИГОЙ ГОДА.