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Graham Swift Writer - Fiction
Graham Swift Writer - fiction Graham Swift was born in 1949 and is the author of nine novels. He is the recipient of many awards for his fiction, including the bi- annual Geoffrey Faber Memorial Prize for SHUTTLECOCK (1981); the Guardian Fiction Prize for WATERLAND (1983); and in 1996, the Booker Prize for Fiction for LAST ORDERS. Two of his novels have been made into films: WATERLAND, starring Jeremy Irons, and, more recently, LAST ORDERS, starring Michael Caine, Helen Mirren, Bob Hoskins and Tom Courtenay. Agents Caradoc King Agent Millie Hoskins [email protected] Assistant Becky Percival [email protected] 020 3214 0932 Publications Fiction Publication Notes Details HERE WE ARE It is Brighton, 1959, and the theatre at the end of the pier is having its best 2020 summer season in years. Ronnie, a brilliant young magician, and Evie, his UK Simon & dazzling assistant, are top of the bill, drawing audiences each night. Schuster US Knopf Meanwhile, Jack – Jack Robinson, as in ‘before you can say’ – is everyone’s favourite compère, a born entertainer, holding the whole show together. As the summer progresses, the off-stage drama between the three begins to overshadow their theatrical success, and events unfold which will have lasting consequences for all their futures. Rich, comic, alive and subtly devastating, Here We Are is a masterly piece of literary magicianship which pulls back the curtain on the human condition. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Publication Notes Details MOTHERING It is March 30th 1924. -
Graham Swift Writer - Fiction
Graham Swift Writer - fiction Graham Swift was born in 1949 and is the author of nine novels. He is the recipient of many awards for his fiction, including the bi- annual Geoffrey Faber Memorial Prize for SHUTTLECOCK (1981); the Guardian Fiction Prize for WATERLAND (1983); and in 1996, the Booker Prize for Fiction for LAST ORDERS. Two of his novels have been made into films: WATERLAND, starring Jeremy Irons, and, more recently, LAST ORDERS, starring Michael Caine, Helen Mirren, Bob Hoskins and Tom Courtenay. Agents Caradoc King Agent Millie Hoskins [email protected] Assistant Becky Percival [email protected] 020 3214 0932 Publications Fiction Publication Notes Details HERE WE ARE It is Brighton, 1959, and the theatre at the end of the pier is having its best 2020 summer season in years. Ronnie, a brilliant young magician, and Evie, his UK Simon & dazzling assistant, are top of the bill, drawing audiences each night. Schuster US Knopf Meanwhile, Jack – Jack Robinson, as in ‘before you can say’ – is everyone’s favourite compère, a born entertainer, holding the whole show together. As the summer progresses, the off-stage drama between the three begins to overshadow their theatrical success, and events unfold which will have lasting consequences for all their futures. Rich, comic, alive and subtly devastating, Here We Are is a masterly piece of literary magicianship which pulls back the curtain on the human condition. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Publication Notes Details MOTHERING It is March 30th 1924. -
Read Ebook {PDF EPUB} Here We Are by Graham Swift Here We Are by Graham Swift
Read Ebook {PDF EPUB} Here We Are by Graham Swift Here We Are by Graham Swift. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 65fdd99cf863cc4e • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Here We Are review – breathtaking storytelling from Graham Swift. S ome writers are like old friends – you can lose touch with their work and pick up right where you left off. I stopped reading Graham Swift after 2007’s disappointing Tomorrow , but returned to him in 2016, when Mothering Sunday , a slight, sad, poised novel, was published to a host of glowing reviews. I was surprised to find Swift was no longer anything like the writer I remembered. Here was a late-period voice, elegiac and wistful, with prose far from the sophisticated experimentation of Shuttlecock and Waterland , or the sure-footed mastery of the Booker-winning Last Orders and its underrated successor The Light of Day . -
Postwar Englishness in the Fiction of Pat Barker, Graham Swift and Adam
POSTWAR ENGLISHNESS IN THE FICTION OF PAT BARKER, GRAHAM SWIFT AND ADAM THORPE INGRID JENNIFER GUNBY Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University ofLeeds, School ofEnglish, October 2002 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work ofothers. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. For my father, and the father he never knew. 1 ACKNOWLEDGEMENTS This thesis could not have been written without the intellectual, emotional and financial help of many people and institutions. Of these, financial assistance is perhaps the easiest to specify, and I would like to thank the New Zealand Vice Chancellors' Committee, the Committee of Vice-Chancellors and Principals, the University of Leeds, and the School of English for providing the funding that enabled me to undertake this research, and the Leeds University Union for assistance with nursery fees. Dr John McLeod's deft guidance played no small part in keeping a potentially unruly project under control, and his enthusiasm reinvigorated me at many moments when my own was flagging. Alistair Stead read Chapter One and was, as he always is, both rigorous and generous in his comments. My thinking on Pat Barker benefited early on from long discussions and the sharing of research resources with Roberta Jackson, whose own study on Barker I am eagerly awaiting. My fellow research students in the School of English have encouraged, commiserated and celebrated with me, and helped me out on occasions too numerous to count: special mention should go to Caroline Sumpter, Colin Winborn, Rob Ward and Richard Haw.