In Graham Greene's Thrillers and the 1930s Brian Diemert examines the first and most prolific phase of Graham Greene's career, demonstrating the close relationship between Greene's fiction and the political, economic, social, and literary contexts of the period. Situating Greene alongside other young writers who responded to the worsening political climate of the 1930s by promoting social and political reform, Diemert argues that Greene believed literature could not be divorced from its social and political milieu and saw popular forms of writing as the best way to inform a wide audience.

A comprehensive reconsideration of Graham Greene's exploration of faith, doubt, literary versatility and authorial identity in his fictions and other writings >

The “strikingly original” debut novel by the masterful British author is “a perfect adventure” of love and smuggling on the English coast (The Nation). Francis Andrews is a reluctant smuggler living in the shadow of his brutish father’s legacy. To exorcise the ghosts of the man he loathes, Andrews betrays his colleagues to authorities and takes flight across the downs. It’s here that he stumbles upon the isolated cottage of a beguiling stranger named Elizabeth—an empathetic young woman who is just as lonely, every bit the outsider as he, and reconciling a troubling past of her own. Andrews, a man on the run from those he exposed, believes he’s found refuge and salvation. But when Elizabeth encourages him to return to the courts of Lewes and give evidence against his accomplices, the treacherous and deadly repercussions may be beyond their control. “The ultimate strengths of [Graham] Greene’s books is that he shows us the hazards of compassion,” a theme that would find its earliest expression in The Man Within, his first published novel (Pico Iyer).

Covers fifty years of criticism of Graham Greene, a leading man of letters on the English literary scene.

English novelist, short-story writer, playwright and journalist, Graham Greene was one of the most widely read novelist of the 20th-century, a superb storyteller. Adventure and suspense are constant elements in his novels and many of his books have been made into successful films. Although Greene was nominated several times as a candidate for the Nobel Prize for Literature, he never received the award. Graham Greene is a descriptive catalog of first editions of works by Greene, which are currently held in the collection of the University of Louisville. Arranged chronologically by title, Robert H. Miller, also includes letters, radio scripts, pamphlets, and subsequent editions of importance and scarcity.

He has been known by countless names and terrifying deeds throughout the lands of mankind-thief, magic wielder, swordsman, assassin, adventurer. But chief among those names and perhaps the most dangerous of his personae is that of Nightfall, a man-or perhaps the legendary demon himself-gifted with unique powers which any sorcerer would kill to possess. Yet though Nightfall has always escaped his pursuers by moving on to new realms, new identities, and new enterprises, even the cleverest of beings must occasionally slip. And when this master of the night finally falls prey to a royal trap, he finds the consequences beyond even his ability to evade. Bound by sorcery and oath to guard and guide a young prince on his quest, Nightfall will need every trick and talent at his command to keep both himself and his idealistic young charge from death at the hands of unknown betrayers.

A study of Graham Greene's fiction from the perspective of ethics and community, focusing on the narrative pattern that emerges from the author's idiosyncratic use of keywords like peace, despair, compassion or commitment. This book explores their potential for the textual articulation of narrative conflict and the dramatization of the ethical.

From The Man Within (1929) to The Captain and the Enemy (1988), Graham Greene engaged in a lifelong dialogue with Joseph Conrad's political, psychological and melodramatic fictions. Repressing Conrad's political anxieties, his early work displaces the protagonist's existential dilemma into the form of the thriller or - alternatively -the 'Catholic' novel. After The Quiet American (1955), however, Greene's novels return to politics, introducing comic variations which transform Conrad's 'masterplot' into a mixed genre uniquely his own, a process charted in this book, the first full-length study of the subject.