The fourth volume in this collection of the Nobel Prize–winning prime minister’s essays and journalism showcases his wide-ranging interests and talents. Legendary politician and military strategist Winston S. Churchill was a master not only of the battlefield, but of the page and the podium. Over the course of forty books and countless speeches, broadcasts, news items and more, he addressed a country at war and at peace, thrilling with victory but uneasy with its shifting role in global politics. In 1953, he was awarded the Nobel Prize for Literature for “his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values.” During his lifetime, he enthralled readers and brought crowds roaring to their feet; in the years since his death, his skilled writing has inspired generations of eager history buffs. This collection of 1920s–30s magazine and newspaper articles convey the extraordinary variety and depth of Churchill’s thoughts on the questions, both lofty and quotidian, facing humankind. From oil painting to learning to fly an airplane, from cartoons to commanding a frontline infantry battalion in World War One, these essays bring the great man’s wit and intellect to life. With a new introduction and notes by James W. Muller, academic chairman of the International Churchill Society, this edition recovers Churchill’s unforgettable table talk for a new generation of readers.

After the Modernist literary experiments of her earlier work, Virginia Woolf became increasingly concerned with overt social and political commentary in her later writings, which are preoccupied with dissecting the links between patriarchy, patriotism, imperialism and war. This book unravels the complex textual histories of The Years (1937), Three Guineas (1938) and Between the Acts (1941) to expose the genesis and evolution of Virginia Woolf's late cultural criticism. Fusing a feminist-historicist approach with the practices and principles of genetic criticism, this innovative study scrutinizes a range of holograph, typescript and proof documents within their historical context to uncover the writing and thinking processes that produced Woolf's cultural analysis during 1931-1941. By demonstrating that Woolf's late cultural criticism developed through her literary experimentalism as well as in response to contemporary social, political and economic upheavals, this book offers a fresh perspective on her emergence as a cultural commentator in her final decade and paves the way for further genetic enquiries in the field.

The short story was a commercial phenomenon which took off in the late nineteenth century and lasted through to the rise of television and film. Baldwin uses a wide variety of sources to show how economic factors helped to dictate how and what a wide variety of authors wrote.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914–19.

Sinclair Ross (1908-1996), best known for his canonical novel As for Me and My House (1941), and for such familiar short stories as "The Lamp at Noon" and "The Painted Door," is an elusive figure in Canadian literature. A master at portraying the hardships and harsh beauty of the Prairies during the Great Depression, Ross nevertheless received only modest attention from the public during his lifetime. His reluctance to give readings or interviews further contributed to this faint public perception of the man. In As for Sinclair Ross, David Stouck tells the story of a lonely childhood in rural Saskatchewan, of a long and unrewarding career in a bank, and of many failed attempts to be published and to find an audience. The book also tells the story of a man who fell in love with both men and women and who wrote from a position outside any single definition of gender and sexuality. Stouck's biography draws on archival records and on insights gathered during an acquaintance late in Ross's life to illuminate this difficult author, describing in detail the struggles of a gifted artist living in an inhospitable time and place. Stouck argues that when Ross was writing about prairie farmers and small towns, he wanted his readers to see the kind of society they were creating, to feel uncomfortable with religion as coercive rhetoric, prejudices based on race and ethnicity, and rigid notions of gender. As for Sinclair Ross is the story of a remarkable writer whose works continue to challenge us and are rightly considered classics of Canadian literature.

A collection of critical essays on Huxley, his satires, and fiction works with a chronology of events in the author's life.

Edith Lyttleton, under the name of G. B. Lancaster, wrote over a dozen novels and some 250 short stories, mostly narratives of romance and adventure set in the remote back country of New Zealand, Australia and Canada. She was New Zealand's most widely read author overseas in the first half of the twentieth century, reaching millions of readers. She topped bestseller lists in the United States for six months in 1933 and was awarded the Australian Gold Medal for Literature in the same year. Writing first from her family's Canterbury sheep station and in the face of fierce parental opposition, she later travelled widely, researching her stories in the kon, Nova Scotia and Tasmania. She never married and, with her sister, devoted many years to the needs of her mother. Her middle age was peripatetic and lonely but produced the four phenomenally successful epic novels for which she was best known. In this critical biography Terry Sturm gives a fascinating account of the harsh experience of a gifted woman writer forced to earn her own living but struggling to move beyond the limits of potboilers to more serious work. In their wide range of settings her stories confront the legacy of colonialism in a way that questions the pieties of empire and makes her work of real contemporary interest.