Cupid in Africa is the life story of Bertram Greene, a young British gentleman, a poet, an artist, a musician, a wretched student and intellectual and a bitter disappointment to his father, honorable, upright and scrupulous Major Hugh Greene. In order to gain fathers respect Bertram enlists in the army. After doing his training in India he gets sent to North Africa, where he gets involved in very tough and bloody battles. During his time in combat Bertram is learning about himself a lot and he goes through a major change, becoming a proper man of war._x000D_ Percival Christopher Wren (1875 - 1941) was an English writer, mostly of adventure fiction. He is remembered best for Beau Geste, a much-filmed book of 1924, involving the French Foreign Legion in North Africa. This was one of 33 novels and short story collections that he wrote, mostly dealing with colonial soldiering in Africa. While his fictional accounts of life in the pre-1914 Foreign Legion are highly romanticized, his details of Legion uniforms, training, equipment and barrack room layout are generally accurate, which has led to unproven suggestions that Wren himself served with the legion._x000D_

There never lived a more honourable, upright, scrupulous gentleman than Major Hugh Walsingham Greene, and there seldom lived a duller, narrower, more pompous or more irascible one. Nor, when the Great War broke out, and gave him something fresh to do and to think about, were there many sadder and unhappier men. His had been a luckless and unfortunate life, what with his two wives and his one son; his excellent intentions and deplorable achievements; his kindly heart and harsh exterior; his narrow escapes of decoration, recognition and promotion. At cards he was not lucky—and in love he . . . well—his first wife, whom he adored, died after a year of him; and his second ran away after three months of his society. She ran away with Mr. Charles Stayne-Brooker (elsewhere the Herr Doktor Karl Stein-Brücker), the man of all men, whom he particularly and peculiarly loathed. And his son, his only son and heir! The boy was a bitter disappointment to him, turning out badly—a poet, an artist, a musician, a wretched student and “intellectual,” a fellow who won prizes and scholarships and suchlike by the hatful, and never carried off, or even tried for, a “pot,” in his life. Took after his mother, poor boy, and was the first of the family, since God-knows-when, to grow up a dam’ civilian. Father fought and bled in Egypt, South Africa, Burma, China, India; grandfather in the Crimea and Mutiny, great-grandfather in the Peninsula and at Waterloo, ancestors with Marlborough, the Stuarts, Drake—scores of them: and this chap, his son, theirdescendant, a wretched creature of whom you could no more make a soldier than you could make a service saddle of a sow’s ear! It was a comfort to the Major that he only saw the nincompoop on the rare occasions of his visits to England, when he honestly did his best to hide from the boy (who worshipped him) that he would sooner have seen him win one cup for boxing, than a hundred prizes for his confounded literature, art, music, classics, and study generally. To hide from the boy that the pæans of praise in his school reports were simply revolting—fit only for a feller who was going to be a wretched curate or wretcheder schoolmaster; to hide his distaste for the pale, slim beauty, which was that of a delicate girl rather than of the son of Major Hugh Walsingham Greene. . . . Too like his poor mother by half—and without one quarter the pluck, nerve, and “go” of young Miranda Walsingham, his kinswoman and playmate. . . . Too dam’ virtuous altogether.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The Metamorphoses or Golden Ass of Apuleius (ca. 170 CE) is a Latin novel written by a native of Madauros in Roman North Africa, roughly equal to modern Tunisia together with parts of Libya and Algeria. Apuleius’ novel is based on the model of a lost Greek novel; it narrates the adventures of a Greek character with a Roman name who spends the bulk of the novel transformed into an animal, traveling from Greece to Rome only to end his adventures in the capital city of the empire as a priest of the Egyptian goddess Isis. Apuleius’ Florida and Apology deal more explicitly with the African provenance and character of their author while also demonstrating his complex interaction with Greek, Roman, and local cultures. Apuleius’ philosophical works raise other questions about Greek vs. African and Roman cultural identity. Apuleius in Africa addresses the problem of this intricate complex of different identities and its connection to Apuleius’ literary production. It especially emphasizes Apuleius’ African heritage, a heritage that has for the most part been either downplayed or even deplored by previous scholarship. The contributors include philologists, historians, and experts in material culture; among them are some of the most respected scholars in their fields. The chapters give due attention to all elements of Apuleius’ oeuvre, and break new ground both on the interpretation of Apuleius’ literary production and on the culture of the Roman Empire in the second century. The volume also includes a modern, sub-Saharan contribution in which "Africa" mainly means Mediterranean Africa.

Enoch John hails from Trinidad and Tobago in the Caribbean. He has been writing poetry which is passion, for sixteen years. He is a graduate of Valsayn Teachers’ College and the University of the West Indies. In this anthology, the poet utilizes a number of universal themes as he mixes the distinct rhythms of the Caribbean with the Englishness of the English poets. Here he pays homage to personalities like Nelson Mandela, Barack Obama, Princess Diana of England and of course Nobel Laureate, Derek Walcott.

The twenty-seven original contributions to this volume investigate the ways in which the First World War has been commemorated and represented internationally in prose fiction, drama, film, docudrama and comics from the 1960s until the present. The volume thus provides a comprehensive survey of the cultural memory of the war as reflected in various media across national cultures, addressing the complex connections between the cultural post-memory of the war and its mediation. In four sections, the essays investigate (1) the cultural legacy of the Great War (including its mythology and iconography); (2) the implications of different forms and media for representing the war; (3) ‘national’ memories, foregrounding the differences in post-memory representations and interpretations of the Great War, and (4) representations of the Great War within larger temporal or spatial frameworks, focusing specifically on the ideological dimensions of its ‘remembrance’ in historical, socio-political, gender-oriented, and post-colonial contexts.