Everyman’s Library Contemporary Classics

The brevity of Muriel Spark's novels is equaled only by their brilliance. These four novels, each a miniature masterpiece, illustrate her development over four decades. Despite the seriousness of their themes, all four are fantastic comedies of manners, bristling with wit.
Spark's most celebrated novel, THE PRIME OF MISS JEAN BRODIE, tells the story of a charismatic schoolteacher's catastrophic effect on her pupils. THE GIRLS OF SLENDER MEANS is a beautifully drawn portrait of young women living in a hostel in London in the giddy postwar days of 1945. THE DRIVER'S SEAT follows the final haunted hours of a woman descending into madness. And THE ONLY PROBLEM is a witty fable about suffering that brings the Book of Job to bear on contemporary terrorism.

Characters are vividly etched in a few words; earth-shaking events are lightly touched on. Yet underneath the glittering surface there is an obsessive probing of metaphysical questions: the meaning of good and evil, the need for salvation, the search for significance.

Initially an almost grotesquely comic figure, Pnin gradually grows in stature by contrast with those who laugh at him. Whether taking the wrong train to deliver a lecture in a language he has not mastered or throwing a faculty party during which he learns he is losing his job, the gently preposterous hero of this enchanting novel evokes the reader's deepest protective instinct.

Serialized in The New Yorker and published in book form in 1957, PNIN brought Nabokov both his first National Book Award nomination and hitherto unprecedented popularity.

Sixty-one when she published her first novel, Penelope Fitzgerald based many subsequent books on the experiences of a long and varied life.

Offshore, which won the Booker Prize in 1979, explores her time living on a barge at Battersea Reach.

Human Voices takes place in the BBC where she worked during World War II. Both are vivid, intimate pictures of ordinary life, startling, sad and funny by turns, conjuring up complex worlds with the economy of poetry.

The Beginning of Spring is an historical novel operating on a larger canvas. It presents a life unknown to the author through a story of English émigrés in pre-Revolutionary Russia and has been described by one critic as the best ‘Russian’ novel of the twentieth century.

Written with energy, passion and wit, and each quite different from the others, all three of these masterpieces reveal a lightness of touch with the most serious matters unlike anything else in contemporary fiction.

The only complete collection of shorter fiction by the undisputed master of detective literature, assembled here for the first time in one volume, includes stories unavailable for decades. When Raymond Chandler turned to writing at the age of forty-five, he began by publishing in pulp magazines such as Black Mask before later writing his famous novels. In these stories Chandler honed his art and developed his uniquely vivid underworld, peopled with good cops and bad cops, informers and extortionists, lethally predatory blondes and redheads, and crime, sex, gambling and alcohol in abundance. In addition to his classic detective fiction – in which his signature atmosphere of depravity and violence swirls around cool, intuitive loners such as Philip Marlowe – Chandler turned his hand to fantasy and even a Gothic romance. This rich treasury of twenty-five stories shows him developing the laconic, understated style that would serve him so well in his later masterpieces, immersing readers in the richly realized fictional universe that has become a part of our literary landscape.

Includes 'The Freedom of the Press', intended as the preface to 'Animal Farm' but undiscovered until 1972. Considered by Noam Chomsky to be Orwell's most important essay. These essays demonstsrate the life and work of one of the most individual writers of the last century.

Raymond Chandler’s first three novels, published here in one volume, established his reputation as an unsurpassed master of hard-boiled detective fiction.

The Big Sleep, Chandler’s first novel, introduces Philip Marlowe, a private detective inhabiting the seamy side of Los Angeles in the 1930s, as he takes on a case involving a paralysed California millionaire, two psychotic daughters, blackmail and murder.

In Farewell, My Lovely, Marlowe deals with the gambling circuit, a murder he stumbles upon, and three very beautiful but potentially deadly women.

In The High Window, Marlowe searches the California underworld for a priceless gold coin and finds himself deep in the tangled affairs of a dead coin collector.

In all three novels, Chandler’s hard-edged prose, colourful characters, vivid vernacular, and, above all, his enigmatic loner of a hero, establish his enduring claim to the heights of his chosen genre.

Creator of the famous Philip Marlowe, Raymond Chandler elevated the American hard-boiled detective genre to an art form. His last four novels, published here in one volume, offer ample opportunity to savour the unique and compelling fictional world that made his works modern classics.

The Lady in the Lake moves Marlowe out of his usual habitat of city streets and into the mountains outside Los Angeles in his strange search for a missing woman.

The Little Sister takes Marlowe to Hollywood, where he tries to find a sweet young thing’s missing brother, uncovering on the way a little blackmail, a lot of drugs, and more than enough murder.

In The Long Goodbye, a case involving a war-scarred drunk and his nymphomaniac wife has Marlowe constantly on the move: a psychotic gangster’s on his trail, he’s in trouble with the cops, and more and more corpses keep turning up.

Playback features a well-endowed redhead who leads Marlowe to the California coast to solve a tale of big money and, of course, murder.

Throughout these masterpieces, Marlowe’s wry humour and existential sense of his job prove yet again why he has become one of the most recognized and imitated characters in fiction.

The modern Italian classic discovered and championed by James Joyce, ZENO'S CONSCIENCE is a marvel of psychological insight, published here in a fine new translation by William Weaver - the first in more than seventy years.

Italo Svevo's masterpiece tells the story of a hapless, doubting, guilt-ridden man paralyzed by fits of ecstasy and despair and tickled by his own cleverness. His doctor advises him, as a form of therapy, to write his memoirs; in doing so, Zeno reconstructs and ultimately reshapes the events of his life into a palatable reality for himself - a reality, however, founded on compromise, delusion, and rationalization.
With cigarette in hand, Zeno sets out in search of health and happiness, hoping along the way to free himself from countless vices, not least of which is his accursed "last cigarette!" (Zeno's famously ineffectual refrain is inevitably followed by a lapse in resolve.)

His amorous wanderings win him the shrill affections of an aspiring coloratura, and his confidence in his financial savoir-faire involves him in a hopeless speculative enterprise. Meanwhile, his trusting wife reliably awaits his return at appointed mealtimes. Zeno's adventures rise to antic heights in this pioneering psychoanalytic novel, as his restlessly self-preserving commentary inevitably embroiders the truth. Absorbing and devilishly entertaining, ZENO'S CONSCIENCE is at once a comedy of errors, a sly testimonial to he joys of procrastination, and a surpassingly lucid vision of human nature by one of the most important Italian literary figures of the twentieth century.

Penelope Fitzgerald, who died in 2000, emerged late in life as one of the most remarkable English writers of the last century. The three novels in this volume all display her characteristic wit, intellectual breadth and narrative brilliance, applied to the different traditional forms into which she breathed new life. The Bookshop is a contemporary comedy of manners, set in a provincial town. InThe Gate of Angels romance is combined with the novel of ideas; while The Blue Flower revitalizes historical drama in a study of the eighteenth-century German writer Novalis. Fitzgerald being the genius of the relevant detail and the deftly sketched conceptual context, each book conjures up a different world in a few vivid pages which remain etched on the memory.

As an operative for Pinkerton’s Detective Agency Dashiell Hammett knew about sleuthing from the inside, but his career was cut short by the ruin of his health in World War I. These three celebrated novels are therefore the products of a hard real life, not a literary education. Despite – or because of – that, Hammett had an enormous effect on mainstream writers between the wars. Like his readers, they were attracted by the combination of laconic style, sharp convincing dialogue, vivid settings and, above all, the low-life, hard-boiled characters who populate the streets of his stories. Taking detective fiction out of the drawing-room, Hammett ‘gave murder back to the kind of people that commit it’, as Raymond Chandler said. In so doing, he left his mark on modern fiction.

Primo Levi's account of life as a concentration camp prisoner falls into two parts. IF THIS IS A MAN describes his deportation to Poland and the twenty months he spend working in Auschwitz. THE TRUCE covers his long journey to Italy at the end of the war through Russia and Central Europe. Levi never raises his voice, complains or attributes blame. By telling his story quietly, objectively and in plain language he renders both the horror and the hope of the situation with absolute clarity. Probing the themes which preoccupy all his writing - work love, power, the nature of things, what it is to be human - he leaves the reader drained, elated, apprehensive.

Three classic crime novels by a master of the macabre – The Talented Mr. Ripley, Ripley Under Ground, and Ripley's Game – appear here together in hardcover for the first time. Suave, agreeable, and completely amoral, Patricia Highsmith’s hero, the inimitable Tom Ripley, stops at nothing – not even murder – to accomplish his goals. In achieving the opulent life that he was denied as a child, Ripley shows himself to be a master of illusion and manipulation and a disturbingly sympathetic combination of genius and psychopath. Sent on a mission to Italy to coax an irresponsible young playboy back to his wealthy father in America, Ripley finds himself so fond of the young man that he sets out to be like him – exactly like him. The precarious charade that ensues is the first step to a life of elegance and ease – and perpetual danger. As she leads us through the mesmerizing tangle of Ripley’s deadly and sinister games, Highsmith turns the mystery genre inside out and takes us into the mind of a man utterly indifferent to evil.

An autobiographical volume which recounts the story of Nabokov's first forty years up to his departure from Europe for America at the outset of World War Two. It tells of his emergence as a writer, his early loves and his marriage, and his passions for butterflies and his lost homeland. Written in this writer's characteristically brilliant, mordant style, this book is also a tender record of lost childhood and youth in pre-Revolutionary Russia.

Albert Camus' laconic masterpiece about a Frenchman who murders an Arab in colonial Algeria is famous in its time for diagnosing a state of alienation and spiritual exhaustion which summed up the mood of the mid-twentieth century. Today, more than fifty years after its first appearance, we can see that this early success was no passing fashion: The Outsider continues to speak to us of ultimate things with the force of a parable and the excitement of a thriller and remains one of the most widely read and influential classics of the century.