"If we set H. E. Bates's best tales against the best of Chekhov's," Graham Greene declared, "I do not believe it would be possible, with any conviction, to argue that the Russian was the finer artist." The sampler of H. E. Bates stories presented here shows the merit of that praise and displays the range and aspects of Bates's work from his first published story, "The Flame," to one of his very last, "The Song of the Wren." In his long and prolific literary career, Bates (1905-1974) produced twenty-five novels, a three-volume autobiography, nine books of essays, several plays and children's books, as well as his important and perhaps most enduring achievement, twenty-three collections of short stories. A Month by the Lake & Other Stories displays Bates's extraordinary talent for concisely getting at the heart of the matter. Whether he is dealing with romance in middle age (the title story), or the almost painful clarity of a child's world ("The Cowslip Field"), or encapsulating the disintegration and tragedy of a man and a house and the era and class they represent ("The Flag")-Bates's compassion for humanity remains constant. As Anthony Burgess remarks in his introduction, Bates "achieved such sovereignty of what literary land he inherited that he deserves the homage of our uncomplicated enjoyment... Bates's affection for ordinary people is one of his shining virtues. But he himself, as I knew, and as this compilation should make clear, was, is, far from ordinary." Book jacket.

Thirteen stories deal with three sisters, a young woman's dashed hopes, failed love, life's dissatisfactions, missed opportunities, and the search for identity.

The six long stories of A Party for the Girls present H.E. Bates at his finest. A crack shot at understated tragedy, Bates is perhaps at his best with comedy and character--consider the opening line of the title story: "Miss Tompkins, who was seventy-six, bright pink-looking in a bath-salts sort of way and full of an alert but dithering energy, looked out the drawing-room window for the twentieth time since breakfast and found herself growing increasingly excited." Though virtually unknown here, as Publishers Weekly put it in their review of Bates's A Month by the Lake & Other Stories (1987), his nearly perfect stories...should set his readers clamoring for more... He is as adept at the seductive rise and fall of his narrative voice as he is cunning with naturalistic dialogue. Comparisons to Joyce, Chekhov, and Mansfield are inevitable.

"If we set H. E. Bates's best tales against the best of Chekhov's," Graham Greene declared, "I do not believe it would be possible, with any conviction, to argue that the Russian was the finer artist." The sampler of H. E. Bates stories presented here shows the merit of that praise and displays the range and aspects of Bates's work from his first published story, "The Flame," to one of his very last, "The Song of the Wren." In his long and prolific literary career, Bates (1905-1974) produced twenty-five novels, a three-volume autobiography, nine books of essays, several plays and children's books, as well as his important and perhaps most enduring achievement, twenty-three collections of short stories. A Month by the Lake & Other Stories displays Bates's extraordinary talent for concisely getting at the heart of the matter. Whether he is dealing with romance in middle age (the title story), or the almost painful clarity of a child's world ("The Cowslip Field"), or encapsulating the disintegration and tragedy of a man and a house and the era and class they represent ("The Flag")-Bates's compassion for humanity remains constant. As Anthony Burgess remarks in his introduction, Bates "achieved such sovereignty of what literary land he inherited that he deserves the homage of our uncomplicated enjoyment... Bates's affection for ordinary people is one of his shining virtues. But he himself, as I knew, and as this compilation should make clear, was, is, far from ordinary." Book jacket.

Goncalo Ramires, last heir to the most noble house of Portugal, is writing a book on his ancestors in the hope some of the glory will rub off on him. In counter-pointing Goncalo's cowardice with the valor of his ancestors, Queiroz (1845-1900) was identifying him with Portugal itself. Queiroz has been called the Dickens of Portugal.

When Caradoc Evans's novel Nothing to Pay appeared in 1930, it met with much admiration and also much resistance. His ruthless exposure of the Nonconformist establishment undermined the commonly held view that the Welsh were a pastoral, God-fearing people. As Jeremy Brooks put it The Independent, "What the Welsh could not forgive was that they recognized themselves only too clearly in Evans's satirical portraits." But Dylan Thomas praised Evans's work relentlessly, and H.G. Wells said in a lecture: "There was one, who is too little esteemed, who has done the thing [of telling about the trade shops] with a certain brutal thoroughness, and he tells a great deal of truth. That is Caradoc Evans in his book Nothing to Pay." (In America, H.L. Mencken saw in Evans the fundamentalists of the South laid bare, and offered one hundred free copies of his story collection to the local YMCA.) Nothing to Pay relates the story of Amos Morgan, an ambitious draper from Cardiganshire who works his way up to London through the shop trade. Largely autobiographical, this novel was admired by the Welsh literati and has since become a classic of Welsh literature, not only for its scathing satire, but for its brilliant linguistic inventiveness and poetic style.

"All homage to Muriel Spark, the coolest writer ever to scald your liver and your lights" (The Washington Post). The Public Image, which the author has called "an ethical shocker," provides a scalding the reader is unlikely to forget, particularly as it is so enjoyable. Spark chooses Rome, "the motherland of sensation," for the setting of her story about movie star Annabel Christopher (known to her adoring fans as "The English Lady-Tiger"), who has made the fatal mistake of believing in her public image. This error and her embittered husband, and unsuccessful actor, catch up with her. Her final act is only the first shocking climax—further surprises await. Neatly savaging our celebrity culture, Spark rejoices in one of her favorite subjects—the clash between sham and genuine identity—and provides Annabel with an unexpected triumph.

Perhaps one of the greatest works of French literature is Madame de Lafayette's The Princess of Cleves, often described as the first of all "modern" novels. This classic translation, with an introduction, by the late English novelist and biographer Nancy Mitford, was first brought out in 1951 by New Directions. It is now made available as a New Directions Paperbook. Published in 1678 and written by Marie Madeleine Roche de la Vergne, Countess de Lafayette - a Parisian lady of fashion and great wit, who probably received help from her friend the Duc de la Rochefoucauld, author of the famous Maxims - it recreates with matchless vitality the lives and loves of the sixteenth-century courtiers of King Henry II of France. In her exquisite tapestry, we encounter such historic figures as Diane de Poitiers, the king's mistress; Catherine de Medicis, his queen; the doomed Mary Stuart, Queen of Scotland. It tells the story of the consuming passion of the young Duc de Nemours for the beautiful wife of his friend the Prince of Cleves. Madame de Sevigne, the great letter writer and life-long friend of Madame de Lafayette, called Th e Princess of Cleves "one of the most charming things." It is still that - and it is also one of the truly great love stories of all literature. Book jacket.

Contains alphabetically arranged entries that provide biographical and critical information on major and lesser-known nineteenth- and twentieth-century British writers, and includes articles on key schools of literature, and genres.