'Hugely enjoyable' AN Wilson, Sunday Times 'Thoughtful, entertaining and enjoyable' Michael Gove, Book of the Week, The Times Inspired by William Makepeace Thackeray, the first great analyst of snobbery, and his trail-blazing The Book of Snobs (1848), D. J. Taylor brings us a field guide to the modern snob. Short of calling someone a racist or a paedophile, one of the worst charges you can lay at anybody's door in the early twenty-first century is to suggest that they happen to be a snob. But what constitutes snobbishness? Who are the snobs and where are they to be found? Are you a snob? Am I? What are the distinguishing marks? Snobbery is, in fact, one of the keys to contemporary British life, as vital to the backstreet family on benefits as the proprietor of the grandest stately home, and an essential element of their view of who of they are and what the world might be thought to owe them. The New Book of Snobs will take a marked interest in language, the vocabulary of snobbery - as exemplified in the 'U' and 'Non U' controversy of the 1950s - being a particular field in which the phenomenon consistently makes its presence felt, and alternate social analysis with sketches of groups and individuals on the Thackerayan principle. Prepare to meet the Political Snob, the City Snob, the Technology Snob, the Property Snob, the Rural Snob, the Literary Snob, the Working-class Snob, the Sporting Snob, the Popular Cultural Snob and the Food Snob.

Julian Fellowes, creator of the Emmy-Award winning TV series Downton Abbey, established himself as an irresistible storyteller and a deliciously witty chronicler of modern manners in his first novel, Snobs, a wickedly astute portrait of the intersecting worlds of aristocrats and actors. "The English, of all classes as it happens, are addicted to exclusivity. Leave three Englishmen in a room and they will invent a rule that prevents a fourth joining them." The best comedies of manners are often deceptively simple, seamlessly blending social critique with character and story. In his superbly observed first novel, Julian Fellowes, winner of an Academy Award for his original screenplay of Gosford Park, brings us an insider's look at a contemporary England that is still not as classless as is popularly supposed. Edith Lavery, an English blonde with large eyes and nice manners, is the daughter of a moderately successful accountant and his social-climbing wife. While visiting his parents' stately home as a paying guest, Edith meets Charles, Earl of Broughton, and heir to the Marquess of Uckfield, who runs the family estates in East Sussex and Norfolk. To the gossip columns he is one of the most eligible young aristocrats around. When he proposes. Edith accepts. But is she really in love with Charles? Or with his title, his position, and all that goes with it? One inescapable part of life at Broughton Hall is Charles's mother, the shrewd Lady Uckfield, known to her friends as "Googie" and described by the narrator---an actor who moves comfortably among the upper classes while chronicling their foibles---"as the most socially expert individual I have ever known at all well. She combined a watchmaker's eye for detail with a madam's knowledge of the world." Lady Uckfield is convinced that Edith is more interested in becoming a countess than in being a good wife to her son. And when a television company, complete with a gorgeous leading man, descends on Broughton Hall to film a period drama, "Googie's" worst fears seem fully justified.

Observations on the many ways we manage to look down on others, from “a writer who can make you laugh out loud on every third page” (The New York Times Book Review). Snobs are everywhere. At the gym, at work, at school, and sometimes even lurking in your own home. But how did we, as a culture, get this way? With dishy detail, Joseph Epstein skewers all manner of elitism as he examines how snobbery works, where it thrives, and the pitfalls and perils in thinking you’re better than anyone else. Offering arch observations on the new footholds of snobbery, including food, fashion, high-achieving children, schools, politics, being with-it—whatever “it” is—name-dropping, and much more, Epstein explores the shallows and depths of a concept that has become part of our everyday lives . . . for better or worse. “Smart, witty, perceptive . . . and almost always—in the best sense of the word—entertaining,” Snobbery provides the ultimate social commentary on arrogance in America (TheWashington Post Book World). It’s a book you shouldn’t be caught dead without.

Satirisk tidsbillede fra victoriatidens England

Because there Is a right way to dive! The Scuba Snobs remain avid and active Divers, and have more than 24 years of recreational diving experience. After publication of the original The Scuba Snobs’ Guide to Diving Etiquette, they embarked upon a year of diving, public appearances, on line interaction with readers, and now expand their “rules” for divers with The Scuba Snobs’ Guide to Diving Etiquette, Book 2. Have fun reading both books, and visit the Scuba Snobs at their website, scubasnobs.com.

Is there a "great divide" between highbrow and mass cultures? Are modernist novels for, by, and about snobs? What might Lord Peter Wimsey, Mrs. Dalloway, and Stephen Dedalus have to say to one another?Sean Latham's appealingly written book "Am I a Snob?" traces the evolution of the figure of the snob through the works of William Makepeace Thackeray, Oscar Wilde, Virginia Woolf, James Joyce, and Dorothy Sayers. Each of these writers played a distinctive role in the transformation of the literary snob from a vulgar social climber into a master of taste. In the process, some novelists and their works became emblems of sophistication, treated as if they were somehow apart from or above the fiction of the popular marketplace, while others found a popular audience. Latham argues that both coterie writers like Joyce and popular novelists like Sayers struggled desperately to combat their own pretensions. By portraying snobs in their novels, they attempted to critique and even transform the cultural and economic institutions that they felt isolated them from the broad readership they desired.Latham regards the snobbery that emerged from and still clings to modernism not as an unfortunate by-product of aesthetic innovation, but as an ongoing problem of cultural production. Drawing on the tools and insights of literary sociology and cultural studies, he traces the nineteenth-century origins of the "snob," then explores the ways in which modernist authors developed their own snobbery as a means of coming to critical consciousness regarding the connections among social, economic, and cultural capital. The result, Latham asserts, is a modernism directly engaged with the cultural marketplace yet deeply conflicted about the terms of its success.

"Timely, insightful and impassioned." – Tim Shipman "David Skelton is, once again, excellent ... This brilliant book is essential reading." – Nick Timothy "One of our most prescient and empathetic social and political writers. Highly recommended." – Jason Cowley "Skelton gets it ... A timely must-read which speaks to head and heart." – Penny Mordaunt MP "Vital ... Skelton makes a compelling case." – Jon Cruddas MP *** An insidious snobbery has taken root in parts of progressive Britain. Working-class voters have flexed their political muscles and helped to change the direction of the country, but in doing so they have been met with disdain and even abuse from elites in politics, culture and business. At election time, we hear a lot about 'levelling up the Red Wall'. But what can actually be done to meet the very real concerns of the 'left behind' in the UK's post-industrial towns? In these once vibrant hubs of progress, working-class voters now face the prospect of being minimised, marginalised and abandoned. In this new updated edition of his rousing polemic, David Skelton explores the roots and reality of this new snobbery, calling for an end to the divisive culture war and the creation of a new politics of the common good, empowering workers, remaking the economy and placing communities centre stage. Above all, he argues that we now have a once-in-a-century opportunity to bring about permanent change.

A rich and evocative portrait of one of the greatest authors of Victorian England Who was William Makepeace Thackeray? Was he the wealthy dilettante who came to London in the 1830s and squandered his fortune on newspapers? Was he the impoverished freelance author of the 1840s who scrapped for every penny he could get? Or was he the great writer who published Vanity Fair in 1847, skewering Victorian society and ensuring his literary legacy? Throughout the many phases of his life, Thackeray remained an enigma. He was friendly but standoffish, generous yet miserly, confident and utterly terrified of failure. A century and a half after Thackeray’s death, D. J. Taylor has produced a biography that tackles the complexities of these contradictions and restores Thackeray to his place in the literary pantheon. His fortune lost by the time he was thirty, his personal life in constant torment, Thackeray’s story is as dramatic as that of any of his characters. In Thackeray, the man can finally be seen in full.

A critical edition of two sharply satirical works