Review Graham Greene Studies Volume 1 178

Total Page:16

File Type:pdf, Size:1020Kb

Review Graham Greene Studies Volume 1 178 Adamson: Review Graham Greene Studies Volume 1 178 regular basis for the rest of his life, encourag- REVIEW ing his family, friends and lovers to do likewise with the letters, manuscripts and inscribed Judith Adamson editions he had at one time or another sent them. Papers were sold to university archives Jon Wise and Mike Hill, The Works of and dealers, sometimes with embarrassing Graham Greene, Volume 2: A Guide To results. In May 1964 the Daily Mail mocked The Graham Greene Archives. London: Greene when the manuscript of Carving a Bloomsbury, 2015. Statue was auctioned off by Sotheby’s four ISBN: 978-1-4725-2819-3, 357 pages. months before the play was staged. Greene apologized to his agent and subsequently sold Jon Wise and Mike Hill are too modest other manuscripts prior to publication. when they say their book “is not a biogra- Soon after he appointed Alan Redway as phy nor is it a literary criticism” of Graham his bibliographer in 1949, Greene learned Greene’s work. A literary criticism, maybe that Neil Brennan had independently taken not, but it is certainly a biographical bibli- up the same work. He told Redway that ography with sometime critical insights—a “bibliography has always had a certain fas- comprehensive guide to nearly sixty reposi- cination for me;” he introduced the two tories of Greene’s papers in Canada, Ireland, men and helped them itemize differences the United Kingdom, and the United States. between his various editions, bindings and It includes an engaging synopsis of most textual changes, reminding them not to of their contents; this means that as well forget the blurbs he had written for A Burnt- as directing readers to the location of his Out Case and Travels With My Aunt, among papers, their book reveals a great deal about other books. A stickler for detail, he argued Greene’s life and work. It is elegantly writ- that these seemingly insignificant pieces ten, easily accessible to general readers and should be listed as part of his work. In those invaluable to literary researchers. For years days scholars shared bibliographies they had we have marveled at Greene’s productivity; compiled themselves, and before Redway this chronicle adds to the more commonly and Brennan could finish, Roland Wobbe known list of his archived journals, diaries, published Graham Greene: Bibliography notes, correspondence and the innumera- and Guide To Research in 1979, and in 1981 ble drafts and manuscripts of his published A.F. Cassis followed with Graham Greene: work, many fragments and letters along with An Annotated Bibliography of Criticism. By abandoned, unpublished or unfinished sto- then Greene’s bibliographic interest must ries, poems, plays, film scripts, and novels. have waned: when John Bray, a serious col- In an undated typescript at the University lector of his work, later asked him to send of Georgetown, the compulsively self-crit- Wobbe a get-well message, Greene declined. ical Greene admits to being “an obsessive Redway died in 1983 and Brennan in 2006, writer . I cannot support idleness (even their work unpublished. Quoting Greene, these words which I write now are an Wise and Hill’s epigraph reads: “What a life escape—better than writing nothing).” a bibliographer’s must be!” Greene began selling off his manuscripts At Columbia University they have found and papers in the early 1960s and did so on a a cache of one hundred letters, postcards Published by Nighthawks Open Institutional Repository, 2017 1 Graham Greene Studies, Vol. 1 [2017], Art. 23 179 Review and telegrams between Greene and Mercia his Wee Willie Winkie review in Night and Ryhiner Schwob Tinker Harrison (she Day; his Mexican diary forms the basis of eventually married Rex Harrison) dating The Lawless Roads. On the first page of his from 1954 to 1990. The letters suggest “an November 1957 Havana Journal he said he intense passion” not discussed by Norman was “running from myself, and my chaos Sherry or Michael Shelden. The two met in and my loss.” If Batista’s Havana offered the Far East and were together in Bangkok, louche charms it also gave him the backdrop Penang, and Singapore. In 1954 Greene for Our Man In Havana. His travel reports wrote that he longed to see her again and paid his way for the research that informed that the only two people he loved were “you many of his novels. From his Vietnam trips and Catherine.” In the ‘60s he arranged came The Quiet American. A journey on the for her to stay in his villa at Anacapri and Orient Express in 1968 served him well in offered advice on writing about love after Travels With My Aunt. Visits to Argentina reading a novel she had written: “the colder and Paraguay provided background detail and the more detached your writing is the for The Honorary Consul. Two Panama more warmth it can convey to a reader.” diaries (Greene took six trips to Panama) Wise and Hill’s other discoveries are include notes for a novel he never com- many: probably the only original text of pleted, for Getting to Know The General, Stamboul Train, a 73,000-word manuscript and his story “On The Way Back.” of the 1924 novel, Prologue To Pilgrimage Then there are the letters. Perhaps (usually called Anthony Sant) about a black most interesting among them are those boy born to white parents, another unpub- to Catherine Walston (over 1200 at lished novel of 82,000 words from 1925–6 Georgetown University), to Yvonne Cloetta called The Episode, and a novel of 18,000 (these chronicle Greene’s travels as well as words titled Lucius, which seems to date his love for her), to Leopold Duran (which probably from the 1950s. They found a seven include discussion about Monsignor page fragment of another abandoned novel Quixote), to Gloria Emerson (journalist and called Fanatic Arabia, which they claim author of the novel Loving Graham Greene), was written in 1927–28; a twenty-seven to John and Gillian Sutro (close friends for page unpublished piece called A Man of 40 years), and to Vivienne Dayrell-Browning Extremes, which appears to feed into The before she and Greene were married. Wise Comedians; eight pages of a melodrama in and Hill say that with her, Greene “adopted three acts called The Clever Twist, which the conventional gender role of that time, they say was clearly intended to be a signif- that of the strong male caring for the del- icant piece of writing, another untitled piece icate and emotionally fragile female who of eleven pages that may have been intended needed protecting” and that they cannot tell as a novel; and many abandoned stories. from these letters “if this romantic yet chaste Of equal interest are the diaries and relationship was what the deeply sexually journals from Greene’s travels, which charged Greene really wanted or if he was are housed at Georgetown University. As adopting a role simply designed to please a Wise and Hill say, travel was an escape for person he genuinely loved.” Here Wise and Greene. In 1938 he went to Mexico, some Hill’s sensitive editing begins to explain that claim, to avoid attending the libel trial over doomed marriage. https://digitalcommons.northgeorgia.edu/ggs/vol1/iss1/23 2 Adamson: Review Graham Greene Studies Volume 1 180 Given the mass of information they have Michie from Heinemann. Among Michie’s condensed, it is not surprising that their desires was the freedom to take on whatever comments sometimes mislead. Greene books he liked. When he asked if The Bodley was on the Board of The Bodley Head from Head would publish The Tropic of Cancer, June 1957 until 1968 when he stepped Greene advised Reinhardt not “to discour- down to establish beyond question that he age [him] at this point and I personally was domiciled in France, and his brother, would be all for publishing Henry Miller . Hugh, soon replaced him. He, nonetheless, The courageous thing for us to do would be remained active in the firm’s affairs and his to publish in one volume both ‘Tropics’.” If suggestions were almost always taken up. you add this publishing information to what However, in September 1962 Reinhardt did Wise and Hill quote of Greene’s 12 May not publish Henry Miller’s Tropic of Cancer 1960 letter to Reinhardt, it becomes clear and Tropic of Capricorn when Greene that while Greene was in favor of publishing thought he should. Wise and Hill say the Miller’s books, the possibility was raised, or reasons are “unfortunately . not known.” temporarily not denied, only to encourage But they are. Michie to come to The Bodley Head, which Reinhardt and Greene had to intervene he did and where for years he was a highly many times between September 1957 when valued member of staff. they first contacted Charlie Chaplin about However, Wise and Hill’s editing is almost his autobiography and 1964 when it was invariably thorough and helpful. Their book finally published. Getting Chaplin to finish is an invaluable guide to the various Greene his manuscript was a very delicate task. archives and it often provides startling Early on Greene proposed shortening it by insights. It should be used in conjunction about 15,000 words, cuts Chaplin agreed with its companion volume The Works of to, and Greene and Reinhardt made many Graham Greene: A Reader’s Bibliography other suggestions as time passed. Part way And Guide (Bloomsbury, 2012), which was through these often difficult Chaplin years, so recently published that one is in awe of Reinhardt urgently needed a new editorial Wise and Hill’s energy.
Recommended publications
  • Graham Greene Exhibition Catalogue
    The Cherry Record Collection of Josephine Reid’s Papers and Books Relating to Our thanks to the following donors who made the acquisition possible: Paul Almond (1949) GRAHAM GREENE Professor John Stephenson (1953) Professor John-Christopher Spender (1957) Roger Jefferies (1957) Paul Lewis (1958) Peter Buckman (1959) Matthew Nimetz (1960) Doug Rosenthal (1961) Alan James (1962) Stephen Crew (1964) Jim Rogers (1964) Emeritus Professor Paul Crittenden (1965) Alan Heeks (1966) Geoff Wright (1967) Neil Record (1972) Julie Record Richard Jones (1977) Mark Storey (1981) Danny Truell (1982) Alison Roberts (1984) Claire Foster-Gilbert (1984) Virginia Preston (1985) Richard Locke (1985) Jonathan Lewin (1992) Adam Dixon (1994) Sarah Longair (1998) Jo Valentine (2001) Jeff Kulkarni (2001) Sean McDaniel (2002) Alice McDaniel (2003) Blackwell Charitable Trust Friends of the National Libraries ISBN 978-1-78280-500-7 An exhibition held at BALLIOL COLLEGE HISTORIC COLLECTIONS CENTRE 9 781782 805007 > ST CROSS CHURCH, ST CROSS ROAD, OXFORD 25 & 26 April 2015 EXHIBITION AND CATALOGUE BY Naomi Tiley Librarian, Balliol College Anna Sander Archivist, Balliol College FOREWORD BY Sir Anthony Kenny Master of Balliol College 1978–1989 Seamus Perry COVER ILLUSTRATIONS: Fellow Librarian, Balliol College Studio portrait of Josephine Reid taken in the late 1940s or early Neil Record 1950s. Photographer unknown. Balliol 1972 Handwriting © Josephine Reid’s Estate Details from postcards from Graham Greene to Josephine Reid © Verdant SA. The organisers are indebted to
    [Show full text]
  • Parodying the Politics of Knowledge
    Authors of Truth Writers, Liars, and Spies in Our Man In Havana Jacob Carroll “It takes two to keep something real” - Mr. Wormold in Graham Greene’s Our Man In Havana, 103 - Graham Greene’s celebrated parody of the spy-genre Our Man In Havana opens with a comparison between two characters that are completely unknown to the reader: “‘That nigger1 going down the street,’ said Dr. Hasselbacher standing in the Wonder Bar ‘he reminds me of you, Mr. Wormold’” (7). At first, the reader has no way of evaluating the truthfulness of the similarities Dr. Hasselbacher supposedly sees between Mr. Wormold and the “nigger”: these are two characters that have not yet been described except by the comparison in question. Dr. Hasselbacher’s words assert themselves in the mind of the reader as a statement that – however disorienting it may be as an introduction – cannot be immediately disproved or denied. The accuracy of Dr. Hasselbacher’s comparison is first called into question when the two characters are described in more detail by the narrator: the “nigger” is revealed to be a blind beggar with a limp, while Wormold is revealed to be the clean-cut owner of a Havana vacuum-cleaner shop. However, as the novel’s opening speaker, Dr. Hasselbacher initially details for the reader what the reader cannot perceive otherwise; he offers the only representation of Wormold and the “nigger” available at that juncture. The reader cannot evaluate Dr. Hasselbacher’s comparison as either true or false without first accepting it as a possible representation of both Wormold and the “nigger.” Because the comparison cannot be immediately disproved, it becomes a foil that will re-surface again and again as a potentially true description of these characters’ real natures and qualities.
    [Show full text]
  • Peter Hulme Graham Greene and Cuba
    PETER HULME GRAHAM GREENE AND CUBA: OUR MAN IN HAVANA? Graham Greene’s novel Our Man in Havana was published on October 6, 1958. Seven days later Greene arrived in Havana with Carol Reed to arrange for the filming of the script of the novel, on which they had both been work- ing. Meanwhile, after his defeat of the summer offensive mounted by the Cuban dictator, Fulgencio Batista, in the mountains of eastern Cuba, just south of Bayamo, Fidel Castro had recently taken the military initiative: the day after Greene and Reed’s arrival on the island, Che Guevara reached Las Villas, moving westwards towards Havana. Six weeks later, on January 1, 1959, after Batista had fled the island, Castro and his Cuban Revolution took power. In April 1959 Greene and Reed were back in Havana with a film crew to film Our Man in Havana. The film was released in January 1960. A note at the beginning of the film says that it is “set before the recent revolution.” In terms of timing, Our Man in Havana could therefore hardly be more closely associated with the triumph of the Cuban Revolution. But is that association merely accidental, or does it involve any deeper implications? On the fifti- eth anniversary of novel, film, and Revolution, that seems a question worth investigating, not with a view to turning Our Man in Havana into a serious political novel, but rather to exploring the complexities of the genre of com- edy thriller and to bringing back into view some of the local contexts which might be less visible now than they were when the novel was published and the film released.
    [Show full text]
  • Spy Culture and the Making of the Modern Intelligence Agency: from Richard Hannay to James Bond to Drone Warfare By
    Spy Culture and the Making of the Modern Intelligence Agency: From Richard Hannay to James Bond to Drone Warfare by Matthew A. Bellamy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2018 Dissertation Committee: Associate Professor Susan Najita, Chair Professor Daniel Hack Professor Mika Lavaque-Manty Associate Professor Andrea Zemgulys Matthew A. Bellamy [email protected] ORCID iD: 0000-0001-6914-8116 © Matthew A. Bellamy 2018 DEDICATION This dissertation is dedicated to all my students, from those in Jacksonville, Florida to those in Port-au-Prince, Haiti and Ann Arbor, Michigan. It is also dedicated to the friends and mentors who have been with me over the seven years of my graduate career. Especially to Charity and Charisse. ii TABLE OF CONTENTS Dedication ii List of Figures v Abstract vi Chapter 1 Introduction: Espionage as the Loss of Agency 1 Methodology; or, Why Study Spy Fiction? 3 A Brief Overview of the Entwined Histories of Espionage as a Practice and Espionage as a Cultural Product 20 Chapter Outline: Chapters 2 and 3 31 Chapter Outline: Chapters 4, 5 and 6 40 Chapter 2 The Spy Agency as a Discursive Formation, Part 1: Conspiracy, Bureaucracy and the Espionage Mindset 52 The SPECTRE of the Many-Headed HYDRA: Conspiracy and the Public’s Experience of Spy Agencies 64 Writing in the Machine: Bureaucracy and Espionage 86 Chapter 3: The Spy Agency as a Discursive Formation, Part 2: Cruelty and Technophilia
    [Show full text]
  • Indian Scholar
    ISSN 2350-109X Indian Scholar www.indianscholar.co.in An International Multidisciplinary Research e-Journal INCAPABILITY OF SECRET INTELLIGENCE SERVICE IN GRAHAM GREENE’S OUR MAN IN HAVANA Dr. Dhruv Shankar (Ex-Lecturer) Department of Applied Science and Humanities Krishna Institute of Technology & Naraina College of Engineering & Technology, Kanpur, U. P., India Abstract Graham Greene is a prolific, productive and fruitful writer whose work―Our Man in Havana explores the detective issues of the modern world. The thematic analysis of the novel is based on Greene’s Secret Intelligence Service which was served directly or indirectly by him throughout his subsequent novelistic career. Indeed, it is a great satire on the British Secret Service as well as on the vacuum-cleaner agencies. Possessing an adequate knowledge of spying, Greene has succeeded in exhibiting the absurdity and incapability of this profession which is usually considered to be heroic and valiant. Moreover, it requires both the great intelligence and professional dexterity. The novel embodies the story of Wormold, a middle-aged man and local representative in Havana (Cuba) of a British vacuum-cleaner-manufacturing plant. Living under debt, he gets himself enrolled as an agent in the Secret Intelligence Service. Then, he is authorized to recruit some sub agents too. Furthermore, he begins to send bogus information about a missile launching site and also names of counterfeit agents. Simultaneously, some of the real models of these fictitious figures exist, and are slaughtered by enemy agents. Wormold worries lest his story of fake agents and fictitious missile launching should be traced. Brooding over the matter, he confesses that he has invented fake agents.
    [Show full text]
  • Graham Greene
    GRAHAM GREENE Like many writers, Greene resisted the appellation of Catholic novelist, since he did not want readers to be seeking catechetical exactitude in his stories. In what is arguably his first Catholic novel, The Power and the Glory, Graham Greene contrasts a weak, alcoholic fugitive priest with his austere pursuer. There are others contrasts in the book as well ­­ between the hunted man who cannot escape the demands of his ministry and his soft, comfortable self before the revolution; between the second nocturne tale of martyrdom read by pious children and the real life flawed candidate for the firing squad with whiskey on his breath ­­ but the basic contrast is between the political and the religious. All efforts to see the significance of human life in this­world terms are inadequate to the way it really is. Other Catholic novels are The Heart of the Matter, The End of the Affair and A Burnt­Out Case. The series comes to an end in 1973 with The Honorary Consul. Greene still had years to live and many books to write, but his imagination had switched from a religious into a political gear. The Heart of the Matter takes its motto from Charles Peguy. "At the very heart of Christianity is the sinner. No one is more competent on the matter of Christianity than the sinner ­­ unless it be the saint." Major Scobie damns himself out of pity for a waif­like war widow in colonial Africa. Greene is at his best presenting Catholicism through the medium of © Ralph McInerny, 2005.
    [Show full text]
  • THE QUIET AMERICAN by Graham Greene
    THE QUIET AMERICAN by Graham Greene THE AUTHOR Graham Greene (1904-1991) was born in Berkhamsted, England. He had a very troubled childhood, was bullied in school, on several occasions attempted suicide by playing Russian roulette, and eventually was referred for psychiatric help. Writing became an important outlet for his painful inner life. He took a degree in History at Oxford, then began work as a journalist. His conversion to Catholicism at the age of 22 was due largely to the influence of his wife-to-be, though he later became a devout follower of his chosen faith. His writing career included novels, short stories, and plays. Some of his novels dealt openly with Catholic themes, including The Power and the Glory (1940), The Heart of the Matter (1948), and The End of the Affair (1951), though the Vatican strongly disapproved of his portrayal of the dark side of man and the corruption in the Church and in the world. Others were based on his travel experiences, often to troubled parts of the world, including Mexico during a time of religious persecution, which produced The Lawless Roads (1939) as well as The Power and the Glory, The Quiet American (1955) about Vietnam, Our Man in Havana (1958) about Cuba, The Comedian (1966) about Haiti, The Honorary Consul (1973) about Paraguay, and The Human Factor (1978) about South Africa. His work with British Intelligence in Africa during World War II is reflected in The Heart of the Matter. Many of his novels were later made into films. Greene was also considered one of the finest film critics of his day, though one particularly sharp review attracted a libel suit from the studio producing Shirley Temple films when he suggested that the sexualization of children was likely to appeal to pedophiles.
    [Show full text]
  • BRIEF CHRONICLE Artistic Director Th E Official Newsmagazine of Writers’ Theatre Kathryn M
    ISSUE thIrty-OnE November 2010 1 Travels wiTh my aunT: On Stage Table of ConTenTs Dear Friends ................................................................................................ 3 “I HAVE NEVER oT n s age: Travels with my aunt ............................................................................ 5 Graham Greene: Literary Legend .............................................. 6 PLANNED ANYTHING Introducing Stuart Carden ............................................................ 10 Funny Families ....................................................................................... 14 Why Here? Why Now? ....................................................................... 16 b aCksTage: Garden Party Event Wrap Up ..................................................... 20 she loves me Opening Night ...................................................... 22 ILLEGAL Footlights and Candlelight ............................................................. 24 Mark Your Calendars: Upcoming Events .......................... 25 Meet the Writers' Theatre Teaching Artists ................... 26 Welcome to Writers’ Theatre! ................................................... 28 Performance Calendar ..................................................................... 29 IN MY LIFE. HOW COULD I WHEN I HAVE NEVER READ ANY OF THE LAWS AND HAVE NO IDEA WHAT THEY ARE?” -n au T augusTa, Travels wiTh my aunT 2 Travels wiTh my aunT: On Stage Travels wiTh my aunT: On Stage 1 Michael Halberstam THE BRIEF CHRONICLE Artistic Director th e
    [Show full text]
  • The Lesson of Dr Hasselbacher from Our Man in Havana
    ■ LITERATURE & MEDICINE Clinical Medicine 2012, Vol 12, No 5: 492 The lesson of Dr Hasselbacher from Our man in Havana Aravinthan Varatharaj ‘You are interested in a person, not in life, and people die or leave the nursing home; was she a life saved? The young man with- us. But if you are interested in life it never lets you down.’ drawing from alcohol, we detoxed him and he left the ward with In Graham Greene’s masterpiece Our man in Havana, the a smile and a wave; a victory for medicine? These are unremark- unassuming vacuum-cleaner salesman Jim Wormold is recruited able clinical situations, but their underlying complexities are as into a precarious game of international espionage in pre-revolu- beguiling as they are clichéd. For all I know, the first chap went tion Cuba. Although Wormold is the titular protagonist, it is on to have a subdural haemorrhage, the elderly lady actually had really his morose German friend, Dr Hasselbacher, who has the viral encephalitis, and the drunken man eventually had a variceal most poignant scenes. It is, after all, the good doctor who sug- bleed. When I stop to contemplate the depths of my uncertainty, gests to Wormold that he concoct imaginary agents to satisfy I am overwhelmed. British Intelligence: ‘all you need is a little imagination, There is nothing civilised about living in uncertainty. Yet, the Mr Wormold’. It is Hasselbacher who gives Wormold the idea of lesson I am learning is that our job is to manage uncertainty – playing checkers with miniature bottles of whisky — ‘when you not to cure, not to save lives; at least not much.
    [Show full text]
  • Greene's Memoirs: Themes and Books in Process
    GREENE'S MEMOIRS: THEMES AND BOOKS IN PROCESS Tho mas Bonnici Univers idade Estadual de Maringa The Problem of Memoirs Ever since Bede wrote his sho rt autobiography at the end of his History of the English Church and Peop le', English writers have not ceased to ruminate on their person al past. They succeede d in pro­ d ucing a corpus of autobiographica l work rang ing from diary to fictiona lized autobiog raphy to mem oirs. Green's memoirs do not only give the read er a glimpse of the writer's life but furni sh him with details about the inn ermost layers of his novels and hints on their mak ing. Memo irs are very tricky subjects to deal w ith. Not only is memory fall ible and unreli able but "d isag re eable facts are some times glossed ove r or repressed, truth may be distorted for the sake of convenience or harmon y and the occlusions of time may obsc ure as mu ch as they rev eal".2 In an interview given to V.s. Pr itche tt in the New York Time Magazini Greene rem ark s that "even this Kind of book [memoirs] is a re-creati on ". Mauriac says that when an author selects and chooses certain experiences or eve nts he probably falsifies his tru e experience. The valu e of these autobiog raphic facts expe rienced during the first twen ty years of one's life is highly qu estionable. This is extremely important when dealing wi th Greene's memoirs becau se, as Lerner writes, even tho ugh " the writer mu st be versio n of the living Graham Greene he may be a distor ted and partial version" .4 Fragmentos vol.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Penguin Classics
    PENGUIN CLASSICS A Complete Annotated Listing www.penguinclassics.com PUBLISHER’S NOTE For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world, providing readers with a library of the best works from around the world, throughout history, and across genres and disciplines. We focus on bringing together the best of the past and the future, using cutting-edge design and production as well as embracing the digital age to create unforgettable editions of treasured literature. Penguin Classics is timeless and trend-setting. Whether you love our signature black- spine series, our Penguin Classics Deluxe Editions, or our eBooks, we bring the writer to the reader in every format available. With this catalog—which provides complete, annotated descriptions of all books currently in our Classics series, as well as those in the Pelican Shakespeare series—we celebrate our entire list and the illustrious history behind it and continue to uphold our established standards of excellence with exciting new releases. From acclaimed new translations of Herodotus and the I Ching to the existential horrors of contemporary master Thomas Ligotti, from a trove of rediscovered fairytales translated for the first time in The Turnip Princess to the ethically ambiguous military exploits of Jean Lartéguy’s The Centurions, there are classics here to educate, provoke, entertain, and enlighten readers of all interests and inclinations. We hope this catalog will inspire you to pick up that book you’ve always been meaning to read, or one you may not have heard of before. To receive more information about Penguin Classics or to sign up for a newsletter, please visit our Classics Web site at www.penguinclassics.com.
    [Show full text]