Everyman’s Library Contemporary Classics

In the spring of 1860, Fabrizio, the charismatic Prince of Salina, still rules over thousands of acres and hundreds of people, including his own numerous family, in mingled splendour and squalor. Then comes Garibaldi's landing in Sicily and the Prince must decide whether to resist the forces of change or come to terms with them.

W. Somerset Maugham is the Introducer to this beautiful Everyman's Library edition.

Adela and her elderly companion Mrs Moore arrive in the Indian town of Chandrapore, and feel trapped by its insular and prejudiced British community. Determined to explore the 'real India', they seek the guidance of the charming and mercurial Dr Aziz. But a mysterious incident occurs while they are exploring the Marabar caves, and the well-respected doctor soon finds himself at the centre of a scandal.

The portrayal of Stephen Dedalus's Dublin childhood and youth, his quest for identity through art and his gradual emancipation from the claims of family, religion and Ireland itself, is also an oblique self-portrait of the young James Joyce and a universal testament to the artist's 'eternal imagination'.

Joyce expertly encapsulates the development of individual consciousness and the role of the artist in society in what is considered one of his greatest works.

Sons and Lovers is a 1913 novel by the English writer D. H. Lawrence. It traces emotional conflicts through the protagonist, Paul Morel, and his suffocating relationships with a demanding mother and two very different lovers, which exert complex influences on the development of his manhood.

Mr and Mrs Ramsay and their eight children have always holidayed at their summer house in Skye, surrounded by family friends. But as time passes, bringing with it war and death, the summer home stands empty until one day, many years later, the family return to make the long-postponed visit to the lighthouse

This story of a man’s lifelong entanglement with his sister is not only a love story; it manages also to be a fairy tale, an epic, a philosophical treatise on the nature of time, a parody of the history of the novel, and an erotic catalogue. It concludes with an ingeniously sardonic appendix by the author, written under the anagrammatic pseudonym Vivian Darkbloom. Ada, or Ardor, published just after Nabokov’s seventieth birthday, is the supreme work of a virtuosic imagination at white heat.

Nabokov is the most allusive and linguistically playful writer in English since Joyce, and like "Pale Fire" and "Lolita," his new novel abounds in delightful minor parodies and pastiches, countless multilingual puns and literary jokes.

Ada or Ardor is at its core a love story, the stuff that’s sold reams of pop music, and piles of books. Van, fourteen, falls in love with twelve-year-old Ada during a summer vacation. This premise is possibly the only aspect of Ada or Ardor common to numerous other novels. Van, an unreliable narrator if there ever was one, tells the story, while the narrative shuttles seamlessly from a first person to a third person - trust Nabokov the Enchanter to achieve that trick.

From her prison cell, the irrepressible, magnetic Sara Monday looks back on the past half-century of her life in Herself Surprised. Born into a poor family, her employment while still a young girl as a cook in a middle-class household set her on a colourful and picaresque path. In To Be a Pilgrim, Tom Wilcher, a wealthy and disgraced lawyer who has been both Sara’s employer and her lover, has retreated to his estate near the end of his life to wrestle with his tormented conscience. And the centre of The Horse's Mouth, a charming, talented,
impoverished artist named Gulley Jimson–also a lover of Sara Monday–is a restless, rebellious, and self-serving scoundrel whose antics verge on the appalling and farcical.

Read together, these three vigorous and unforgettable narrative voices offer a sweeping vision of the first half of the twentieth century that is lyrical, profane, tragic, and comic all at once.

Published in 1941, 1942, and 1944, the novels in Cary’s trilogy were designed to reveal three complex characters, not only as they see themselves, but as they are seen by one another, resulting in a work of three-dimensional depth and force.

'Family life just goes on. Toughest thing in the world. But of course it is also the microcosm of a world. You get everything there—birth, life, death, love and jealousy, conflict of wills, of authority and freedom, the new and the old. And I always choose the biggest stage possible for my theme...' Joyce Cary

When Latour arrives in 1851 in the territory of New Mexico, newly acquired by the United States, he finds a vast desert region of red hills and tortured arroyos that is American by law but Mexican and Indigenous in custom and belief. Over the next four decades, Latour works gently and tirelessly to spread his faith and to build a soaring cathedral out of the local golden rock–while contending with unforgiving terrain, derelict and sometimes rebellious priests, and his own loneliness.

Death Comes for the Archbishop shares a limitless, craggy beauty with the New Mexico landscape of desert, mountain, and canyon in which its central action takes place, and its evocations of that landscape and those who are drawn to it suggest why Cather is acknowledged without question as the most poetically exact chronicler of the American frontier.