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Supernatural thriller. When David Sandborn (Blake Woodruff), the ten-year-old son of a wealthy New England socialite (Teryl Rothery), is kidnapped, his abductor, Max Truemont (Josh Holloway), and his seedy henchmen assume it will be a routine snatch in exchange for a nice big ransom. Unbeknown to the kidnappers, however, the shy and reserved David has his own agenda, and a mysterious way of seeing into other people's minds. Soon, Max and his cronies will wish that they had never even heard of David, much less abducted the boy...
A brilliant and much admired novelist, Elizabeth Bowen (1899-1973) surpassed herself as a writer of short fiction: 'the supreme genius of her time', writes John Banville in his introduction; 'There is not a story in this substantial volume ... that is not brought off beautifully.' A substantial volume indeed, Including 79 stories written over four decades, ranging in setting from the County Cork of the author's Anglo-Irish childhood to bomb-ravaged London where she coolly sat out the War, evoked with vivid and impeccable artistry. She has a disturbing sense of the uncanny, an acute eye for social comedy and her often emotionally secretive characters are depicted with penetrating psychological insight. She is good at houses, ghosts, children, animals ... 900 pages of sheer delight
A packet of letters, found in an attic, leads young Jane into the world of love. The attic is in Montefort, a corroding country house in County Cork, which harbours a collection of people held there by ties of kinship or habit, and haunted by the memory of its former owner. During a hot and dry summer, Jane pursues her romantic imaginings, while not far off the rich, promiscuous Lady Latterly waits to play her part in Jane's awakening.
FRIENDS AND RELATIONS, of all Elizabeth Bowen's novels, is perhaps the most personal and the most domestic. This is a view of life in a moneyed upper-middle class enjoying its sunset of prosperity, securityand complacency - and by no means free from triviality. But its very narrowness is rich in comedy, and it enables Elizabeth Bowen to createtwo of her most memorable characters - Lady Elfrida, a creature of privilege, and Theodora Thirdman, the gawky and obtrusive adolescent who carries her emotionalism into adult life.
This volume collects for the first time essays published in British, Irish, and American periodicals during Bowen's lifetime as well as essays which have never been published before. The range of subjects alone makes these essays indispensable reading.Throughout her career, Elizabeth Bowen, the Anglo-Irish novelist and short story writer, also wrote literary essays that display a shrewd, generous intelligence. Always sensitive to underlying tensions, she evokes the particular climate of countries and places in Hungary," "Prague and the Crisis," and "Bowen's Court." In "Britain in Autumn," she records the strained atmosphere of the blitz as no other writer does. Immediately after the war, she reported on the International Peace Conference in Paris in a series of essays that are startling in their evocation of tense diplomacy among international delegates scrabbling to define the boundaries of Europe and the stakes of the Cold War. The aftershock of war registers poignantly in "Opening Up the House": owners evacuated during the war return to their houses empty since 1939. Other essays in this volume, especially those on James Joyce, Jane Austen, and the technique of writing, offer indispensable mid-century evaluations of the state of literature. The essays assembled in this volume were published in British, Irish, and American periodicals during Bowen's lifetime. She herself did not gather them into any collection. Some of these essays exist only as typescript drafts and are published here for the first time. Bowen's observations on age, toys, disappointment, charm, and manners place her among the very best literary essayists of the modernist period.
Elizabeth Bowen's account of a time spent in Rome between February and Easter is no ordinary guidebook but an evocation of a city - its hisotry, its architecture and, above all, its atmosphere. She describes the famous classical sites, conjuring from the ruins visions of former inhabitants and their often bloody activities. She speculates about the immense noise of ancient Rome, the problems caused by the Romans' dining posture, and the Roman temperament, which blended 'constructive will with supine fatalism'. She envies the Vestal Virgins and admires the Empress Livia, who survived a barren marriage.
She evokes the city's moods - by day, when it is characterized by golden sunlight, and at night, when the blaze of the moon 'annihilates history, turning everything into a get together spectacle for Tonight.
It is London in the late 1930s, and into a coterie of rather grand early-middle-aged people the sixteen-year-old orphan Portia is plungedbeyond her depth. Disconcertingly vulnerable, Portia is manifestly trying to understand what is going on around her and looking for something that is not there. Evident victim, she is also an inadvertent victimiser - her impossible lovingness and austere trust being too much for her admirer Eddie, who is himself defensive and uncomfortable in this society which has managed to bring them together. In the midst of the rising tension is set perhaps Elizabeth Bowen's most brilliant piece of social comedy, when, at a seaside villa full of rollicking young people, Portia experiences at least temporary relief from the misery Eddie seems determined to bring her.
The Death of the Heart is perhaps Elizabeth Bowen's best-known book. As she deftly and delicately exposes the cruelty that lurks behind the polished surfaces of conventional society, Bowen reveals herself as a masterful novelist who combines a sense of humor with a devastating gift for divining human motivations.
'Frost in May is the unsurpassed novel of convent school life. This story of a clash between a determined young girl and an authoritarian regime is both perceptive and painfully emotional, convincing in every detail' - Hermione Lee, Observer With a new introduction by Tessa Hadley Nanda Gray, the daughter of a Catholic convert, is nine when she is sent to the Convent of Five Wounds. Quick-witted, resilient and eager to please, she accepts this closed world where, with all the enthusiasm of the outsider, her desires and passions become only those the school permits. Her only deviation from total obedience is the passionate friendships she makes. Convent life is perfectly captured - the smell of beeswax and incense; the petty cruelties of the nuns; the eccentricities of Nanda's school friends. Books in the VMC 40th anniversary series include: Frost in May by Antonia White; The Collected Stories of Grace Paley; Fire from Heaven by Mary Renault; The Magic Toyshop by Angela Carter; The Weather in the Streets by Rosamond Lehmann; Deep Water by Patricia Highsmith; The Return of the Soldier by Rebecca West; Their Eyes Were Watching God by Zora Neale Hurston; Heartburn by Nora Ephron; The Dud Avocado by Elaine Dundy; Memento Mori by Muriel Spark; A View of the Harbour by Elizabeth Taylor and Faces in the Water by Janet Frame
This is a reproduction of a book published before 1923. This book may have occasional imperfectionssuch as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed worksworldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Riversdale Charlotte Elizabeth Bowen, Society for Promoting Christian Knowledge. Committee of General Literature and Education Society for Promoting Christian Knowledge, 1874
These were the balmy days of the 1920s. The English, liberated from one long war and not yet faced with the next had - at least when well-off- a confident kind of vitality. The Hotel was a comfortable hotel on the Italian Riviera, run for prosperous English visitors. It was a closed world of wealth and a setting for the inexhaustible comedy of casual personal relationships among a variety of 'nice' people, all English, all wittily reflected with characteristic vivacity. Elizabeth Bowen's wit, and her exact eye for social detail has often been compared to that of Jane Austen, and the similarity is perfectly captured in this, Elizabeth Bowen's first novel.
Throughout these seventy-nine stories - love stories, ghost stories, stories of childhood, of English middle-class life in the twenties andthirties, of London during the Blitz - Elizabeth Bowen combines social comedy and reportage, perception and vision in an oeuvre which reveals, as Angus Wilson affirms in his introduction, that 'the instinctive artist is there at the very heart of her work'.
When eleven-year-old Henrietta arrives at the Fishers’ well-appointed house in Paris, she is prepared to spend her day between trains looked after by an old friend of her grandmother’s. Henrietta longs to see a few sights in the foreign city; little does she know what fascinating secrets the Fisher house itself contains.
On the face of it the story is about a woman who is given reason to suspect that the man with whom she is in love is betraying his country Another man is on his track, and a triangular situation develops. All the elements of a hunter-and-hunted thriller are here, but what she makes of them is an internal drama of remarkable perception and understanding in a domestic setting in embattled London.
Her imagineative interpretation of the effect of war on the manners, morals and emotions of those not directly engaged in the fighting is drawn from an uncannily poignant recall of the wartime London scene.
The family at the 'big house' is in an equivocal position. Interest and tradition should make them support the British but affection ties them to the now resistant people of the surrounding country. Meanwhile, tennis parties and dances are still held, against a background of ambushes. Young officers dance and flirt, or, armed, they patrol the countryside. Faint vibrations of trouble that she cannot understand reach the young girl Lois, who at the same time takes nothing for granted: she is a child of the transition period. Time is not standing still, and no one really believes that it is. Fate is moving in the direction of this apparently immune and remote place. The young are set to be desolating free, the old desolated, by a violent act.
A prolific writer of short stories, Elizabeth Bowen claimed towards the end of her life that "a story deals in the not-yet-thought-of but always possible." Covering a range of situations - broken engagements, encounters with ghosts, brushes with crime - these stories demonstrate the virtuosity of technique that characterizes all of Bowen's writing. "The Lost Hope" ranks with the best of her war stories. Shattering the lives of soldiers and civilians alike, the war cancels the promise shown by the generation that came of age in the 1940s. Yet the war also clears a path to the future, as happens in "Comfort and Joy" and "The Last Bus." Bowen's characters live in the grip of intense circumstances. They respond ardently or ironically to their dilemmas, and sometimes both at once, as does sulky, big-limbed Doris Simonez in "Flowers Will Do." If some of the children in these stories are too wise for their age, like the punctual protagonist of "The Unromantic Princess," adults occasionally behave with no insight at all into their actions. Humour in these tales ranges from the sardonic to the light-hearted. In the title story, "The Bazaar," Captain Winch begs everyone for pins and ends up stealing some. Lady Hottenham gives an impromptu little speech that drifts agonizingly into cliche. The fairy tales, fables, and social dramas in this volume were never gathered together during Bowen's lifetime; a few exist only in unfinished draft. With this collection, Bowen, gifted with keen social observation, justifies her place in the company of D. H. Lawrence, Katherine Mansfield, Virginia Woolf, and James Joyce. Key Features: *Brings together for the first time Bowen's uncollected short stories *Demonstrates the diversity of Bowen's short fiction across her writing career *The stories cover familiar Bowen themes of marriage, travel, estrangement, disappointment and disinheritance *Completes the picture of Bowen as a compelling writing of the short story
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