These essays, lectures, memoirs, and broadcasts are the thought-provoking products of Forsters engagement with the literary, political, and social events of his time.

This groundbreaking new source of international scope defines the essay as nonfictional prose texts of between one and 50 pages in length. The more than 500 entries by 275 contributors include entries on nationalities, various categories of essays such as generic (such as sermons, aphorisms), individual major works, notable writers, and periodicals that created a market for essays, and particularly famous or significant essays. The preface details the historical development of the essay, and the alphabetically arranged entries usually include biographical sketch, nationality, era, selected writings list, additional readings, and anthologies

"A Room with a View is a 1908 novel by English writer E. M. Forster, about a young woman in the restrained culture of Edwardian era England. Set in Italy and England, the story is both a romance and a humorous critique of English society at the beginning of the 20th century. Merchant Ivory produced an award-winning film adaptation in 1985.The Modern Library ranked A Room with a View 79th on its list of the 100 best English-language novels of the 20th century (1998)."

Featuring fourteen short stories, most previously unpublished, The Life to Come spans six decades of E.M. Forsters writing, from approximately 1903 to 1958, and shows Forster at every phase of his writing career. Forster, feeling his career would suffer, never sought publication for most of the stories, hiding these away along with Maurice, his novel of homosexual love. With stories that are lively and amusing (What Does It Matter; The Obelisk), as well as more somber and deft portrayals of love, truth, and society (Dr Woolacott; Arthur Snatchfold), The Life to Come sheds a light on Forsters powerful but suppressed explorations beyond the strictures of conventional society.

Representing every phase of E. M. Forster's career as a writer, the fourteen stories in this book span six decades--from 1903 to 1957 or even later.

This book presents a wide range of previously unpublished works by Radclyffe Hall. These new materials significantly broaden and complicate critical views of Hall's writings. They demonstrate the stylistic and thematic range of her work and cover diverse topics, including 'outsiderism', gender, sexuality, race, class, religion, the supernatural and the First World War. Together, these texts shed a new light on unrecognised or misunderstood aspects of Hall's intellectual world. The volume also contains a substantial introduction, which situates Hall's unpublished writings in the broader context of her life and work. Overall, the book invites a critical reassessment of Hall's place in early twentieth-century literature and culture and offers rich possibilities for teaching and future research. It will be of interest to scholars and undergraduate and postgraduate students in the fields of English literature, modernism, women's writing, and gender and sexuality studies, and to general readers.

This is a book about terminals and boundaries, mortality and closure, the infinitesimals of style and the finite limits of representational language, about least and last things together. It is a book, to start with, about three vast and familiar facts of life and art: death, content, and form. Only by their particular triangulation in the genre of prose fiction do they mark out the hypothesis of the present study: that death in fiction is the fullest instance of form indexing content, is indeed the moment when content, comprising the imponderable of negation and vacancy, can be found dissolving to pure form. Death in narrative yields, by yielding to, sheer style.

E. M. Forster first encountered Billy Budd in 1926. Some twenty years later, he embarked on a collaboration with Benjamin Britten and Eric Crozier, adapting Melville’s novella for the opera stage. The libretto they produced poignantly reaffirmsthe Forsterian creed of salvation through personal relationships.This study presents an extensive exploration of Forster’s involvement in the interpretation, transformation and re-creation of Melville’s text. It situates the story of the Handsome Sailor in the wider context of Forster’s literary oeuvre, his life, and his lifewritings. In detailed readings, Billy Budd becomes a lens through which the themes, patterns and leitmotifs of Forsterian thought and creative imagination are brought into focus. A close re-examination of the libretto sketches serves to shed new light on the collaborative process in which Melville’s story was changed to fit an archetypal array of plot and character types that is central to Forster’s own storytelling.

This chronology provides a concise and accurate outline of Forster's personal, literary and intellectual life from year to year in a series of crisply written diary entries. While the main focus is on his career as a writer of fiction, most of which falls between 1901 and 1924, the chronicle format also sheds new light on the extent and nature of Forster's political and public commitments during his middle years and into an active old age. Travel, friendships and wide reading are also documented to achieve a coherent picture of a full life. Drawing on numerous unpublished sources, including widely scattered letters and the Forster archive at King's College, Cambridge, this chronology makes available a wealth of new information about Forster the man and writer.