Bücher veröffentlicht von Faber & Faber

'[The White Father] was to be a State of the Nation novel, about the end of Empire, contrasting the last generation of men who'd served it, and the new one which was just breaking out from the long dullness of the post-war years, but didn't really know where it was going...' Julian Mitchell, from his new PrefaceMitchell's fourth novel, published in 1964, earned him both the John Llewellyn Rhys Prize and the Somerset Maugham Award. Its protagonist Hugh Shrieve is District Officer in charge of the Ngulu, a small tribe in an African colony on the verge of independence. Fearing 'his' tribe will be overlooked in the politics of a constitutional conference set to take place in London, Hugh returns to England for the first time in years. But there he soon feels lost in his own country.

Imaginary Toys (1961) marked the literary debut of the then 26-year-old Julian Mitchell, who would eventually set aside his prizewinning career as a novelist and achieve wider renown as a dramatist, most famously with Another Country (1981). Imaginary Toys is a novel of Oxford after World War Two, where class consciousness has become newly acute, and a quartet of narrators wrestle with their studies and their more personal difficulties - among the four a coalminer's son and the daughter of a solid bourgeois family, who fall in love to the discomfort of their respective friends.In the first of a sequence of reflective, autobiographical new introductions composed especially for Faber Finds' reissues of his early novels, Julian Mitchell recalls the atmosphere of mid-1950s Oxford, and the path he took to a literary vocation.

A Disturbing Influence was Julian Mitchell's second novel, first published in 1962.The setting is the small, utterly English town of Cartersfield, where the very quietness of life causes trouble. The young and old are preoccupied alike with their own affairs, to the exclusion of the world. Tetchy schoolmaster Mr Drysdale sums it up: 'We don't care much for change in Cartersfield.' But change comes regardless, in the shape of a rootless young man who finds Cartersfield a fine place in which to recuperate after an illness, and a fine place, too, to indulge his appetite for destruction.In a fascinating new preface to this reissue Julian Mitchell describes how he drew on his Cotswold childhood and the town of Cirencester in order to invent his fictional Cartersfield and populate it with a cast of characters.

Julian Mitchell's fifth novel, first published in 1966, is the story of Martin Bannister, whose lonely bachelor life in Manhattan is transformed by a meeting with desirable redhead Henrietta Grigson and her husband Freddy, with whom he embarks on a heady social whirl. But Martin has a surprise in store - a plot twist the real-life inspiration for which Julian Mitchell divulges in his new preface to this Faber Finds edition.'A comedy that is delightfully human, played by characters who have the edgy vitality of real life.'Evening Standard'Mitchell is a writer of the most supple technical accomplishment.' Telegraph'Ingeniously constructed and excellently written.' Listener

As Far As You Can Go was Julian Mitchell's third novel, first published in 1963. Its protagonist is Harold Barlow, a young stockbroker, on his way up in the world - but easily bored, desiring adventure. He accepts a commission to travel to America; and the further west he goes, the more he discovers in the way of wide open spaces and freedoms. There is, however, a limit.In an introduction written especially for this edition, Julian Mitchell describes his interest in writing 'a reverse Henry James novel, about a European discovering America rather than vice-versa.''Like Nabokov, but without his cynicism, Mr Mitchell sets the geography of the United States in motion.' Anthony Burgess, Observer'This raid on the American psyche, so hilarious, yet so horrific in its implications, proves Mr Mitchell a first-rate satirist.' Telegraph

For sixty years Elizabeth II has met each of her twelve prime ministers in a weekly audience at Buckingham Palace, a meeting like no other in British public life. It is private. Both parties have an unspoken agreement never to repeat what is said. Not even to their spouses.The Audience breaks this contract of silence. It imagines a series of pivotal meetings between the Downing Street incumbents and their Queen. From Churchill to Cameron, each prime minister has used these private conversations as a sounding board and a confessional - sometimes intimate, sometimes explosive.From young mother to grandmother, these private audiences chart the arc of the second Elizabethan Age. Politicians come and go through the revolving door of electoral politics, while she remains constant, waiting to welcome her next prime minister.The Audience by Peter Morgan premiered at the Gielgud Theatre, London, in March 2013.

It is 1941. Only child Leo invites schoolfriend Justin to stay the summer on the western tip of Cornwall. Addicted to adventure tales, one night they swim out to investigate a supposed 'spy ship' moored off the coast. The outcome is unnerving for the boys but momentous for Leo's mother Andrea, bringing her into contact with Lieutenant Commander Mike Harrington.'Tim Jeal is a great storyteller... Deep Water is not only an extremely gripping novel, it is also thought-provoking and it subjects the conventional ideas about heroism, romantic love and adventure to a subtle yet searching examination.' Irish News'A very satisfying novel... brilliantly done.' Nina Bawden, The Oldie'Jeal brilliantly conveys a child's interpretation of the world... it is fascinating to watch a child taking revenge on his mother and her lover in such a dramatic fashion.' Times

Tim Jeal's sixth novel, first published in 1983, recreates the frenetic Britain of the 1960s and tells an enthralling tale of three individuals bound together by a risky experiment conducted amid the pop-cultural ferment of the era. Paul Carnforth is young, wealthy, titled, and alive to the opportunities of his times. 'You don't have to like pop to find it interesting', he tells his sceptical wife. Paul decides to fashion a pop star of his own - as a 'moral swipe', also proof of his individual brilliance. But the creation will soon threaten to outgrow his creator.'Pop music, working class heroes, record companies, music publishers and stately homes as settings for orgiastic settings, it's all here ... Mr Jeal writes comedy very well.' Irish Times'Tim Jeal is a writer very much out of the ordinary - trenchant, elegant, subtle.' Sunday Telegraph

'A majestic Victorian tale... Wealthy lawyer Esmond, discarded illegitimate son of a peer, has pinched his way to the top of his profession, while his handsome, debt-ridden cavalry officer brother Clinton has inherited the title and the ancestral home. Beautiful actress Theresa, a widow, a fierce free spirit with a sinewy wit, is the woman both will love.' Kirkus Reviews 'It is rare in this field to meet the realities of passion, its shifts and treacheries; when this combines with rich historical details, including recondite legal and financial ones, the result is outstanding.' Observer 'The novel does imperatively make you want to know what happens next. Three cheers for narrative.' New Statesman 'A superb novelistic situation, starkly worked out as it would be in real life... I was intensely concerned for the fortunes of these people.' Elizabeth Jenkins, Kaleidoscope (BBC)

First published in 1976, Until the Colours Fade was Tim Jeal's fourth novel, set in 1852 in a Lancashire mill town transformed by the Industrial Revolution. Disenfranchised cotton workers are restless, while landed gentry make uneasy common cause with newly wealthy manufacturers. When painter Tom Strickland encounters the combustible Magnus Crawford, lately returned from military service abroad, he is drawn into a web of local hatreds and intrigues that will lead to an epic conclusion at the siege of Sebastopol.'First-rate - I was hooked from the first page... Jeal has a close sympathy for the passions and politics of Victorian Britain.' Times'A long, meaty, intelligent, historical novel, full of qualities like surprise, expectation and its fulfilment, dramatic description and real understanding of the physical enormities of old-style campaigns like the Crimea.' Financial Times'Jeal handles his ambitious range of settings with considerable craftsmanship.'TLS

Derek Cushing - thirtyish, balding, unassuming archivist/researcher into European expansion in East Africa - is also the son of Gilbert, father of Giles, and husband of Diana. On the last count, though, he has begun to fear that he is wearing cuckold's horns. His plan for addressing the crisis leads him to take his wife, son and ageing father to stay at the Cornish mansion of the smooth-talking gallery owner he believes to be his wife's lover. But this, at least, is a place where disputes may be brought to a head.First published in 1974, Cushing's Crusade was Tim Jeal's third novel, for which he won the John Llewellyn Rhys Prize.'Mr Jeal is a writer very much out of the ordinary, trenchant, elegant, subtle.' Sunday Telegraph'A charming, highly enjoyable and most accomplished novel.' Nina Bawden, Telegraph'Extremely funny, perceptive and moving.' Guardian

Ten years after Dinah deserted Harry to marry a friend of his, Harry still loves her obsessively, though his image of her has ceased to relate to her independent reality. Unable to shake this fixation Harry resolves, for the sake of his sanity, to get Dinah back.'Somewhere Beyond Reproach is Tim Jeal's highly readable and often amusing second novel... The writing is sensitive and perceptive.' Daily Telegraph'Jeal is a forceful yet urbane writer who takes perception far beyond the familiar level of perception. His first person narrative, cold and simple in its short sentences, is cleverly combined, in form and style, with an ingenious detachment.' Glasgow Herald'Jeal shows considerable powers of cool and accurate observation. His wine is dry and light and has a bouquet.' Punch'An intricate and absorbing novel.' Evening News

For Love or Money was Tim Jeal's first novel, accepted for publication in 1966 while he was still an undergraduate at Oxford. It is the story of temporary gentleman George, who lives as a kept man with Ruth, the older woman he stole from a wealthy peer, but whose relatively comfortable country life is threatened by his difficult relations with Ruth's two sons.'A first novel of genuine merit... Pointed and witty, with good dialogue and brisk backgrounds.' Evening Standard'A subtle five finger exercise... A beautifully complex and compassionate creation.' Francis King, Sunday Telegraph'Harshly uncompromising... The action screws together with an engineer's precision, but Tim Jeal's ability and insight give unity to the whole.' Sunday Times'Written in a style that is sophisticated and simple, acute and dogged... [Mr Jeal's] book really has no faults.' New Yorker

Following the failure of the 1848 revolution a great many political refugees headed for England - the richly cosmopolitan hub of an Empire, and the commercial-industrial locus of the world. Among the German contingent of exiles were, famously, Karl Marx and Friedrich Engels. But many less luminous names, no less well-educated in their native Germany, also settled in England and made their way there, whether as teachers or tailors, journalists or musicians, polemicists or political organizers. Few of these exiles knew how long they would have to call England home: some became keen Anglophiles, while others remained resolutely wedded in spirit to 'the old country.' Rosemary Ashton's study, first published in 1986, charts the fortunes of this disparate group and illuminates Victorian England through their eyes, so making a fascinating account of a neglected area of Anglo-German relations.

On June 6 1944 - 'D-Day' - Allied troops landed in France, opening a way to eventual victory. In this provocative reappraisal of the Second World War, John Grigg suggests that the Allied invasion could have been launched successfully in the previous year, reducing considerably the scale of the war's human tragedy. 'By 1943, Grigg notes, we already had air supremacy in the ETO and more than enough trained troops to launch a cross-Channel invasion; besides, with the Wehrmacht still deep in Russia, German supply lines would have been stretched to the breaking point. Had the Western Allies liberated only France and Belgium in 1943, speculates Grigg, they could have negotiated with Stalin from a position of strength.' Kirkus Review 'A forceful, argumentative, disputatious book, intended to make people think over old prejudices and discard them.' Economist

What were the consequences for Germany, and the world, that William II was Kaiser at the onset of the 'Great War'? In The Kaiser and His Times (first published in 1964), Michael Balfour analyzes the social, constitutional, and economic forces at work in imperial Germany, and sets the complex and disputed character of the Kaiser, who occupied such a central position in the three decades before 1918, in the context of his family background and the history of Germany. '[Balfour] has borne in mind the Kaiser's own request to the head of his military Secretariat - 'Not dry reports only, please, but now and then a funny story.' The circumstances that allowed to Kaiser to live as if 'The greater part of his life... was illusion' would make comic reading if the results had not been so tragic...' Kirkus Review

'This enthralling autobiographical fragment by Stuart Hood, a World War II British intelligence officer, tells of his escape from a prisoner-of-war camp in Parma and his life on the run with Italian partisans in the Resistance.' New York Times'I wanted to do two things. Firstly, give a picture of peasant life. I felt indebted to my peasants who had sheltered me, and admiration for them. The other thing was to make sense of what had happened. I discovered new facts I hadn't understood at the time. This in itself raised the question of remembrance and how one shapes memory, its truth and gaps.' Stuart Hood, 2002'Combines the mesmeric readability of good modern fiction with a feeling of lived experience to which few novels can attain.' Listener'A remarkable, haunting book.' Raleigh Travelyan, Sunday Times

Politics in the Age of Peel, first published in 1953, is concerned with the ordinary working world of politicians in England during the stormy period between 1830 and 1850: the age of the railway, the Chartists, the Anti-Corn Law League and the Irish famine. Even in the wake of the Great Reform Act of 1832 many corrupt aspects of the old unreformed system of democratic election survived; and politicians had to meet national problems in the teeth of newly clamorous public opinion, while remaining hostage to the representative structure that defined (and limited) their powers.Norman Gash made his professional reputation with this brilliant work, hailed in an unsigned TLS review - which was known to have been written by Sir Lewis Namier - as worthy of 'the warmest acclamation'.

He proclaimed himself a genius and raged against the slightest criticism from fellow scholars; he was a Marxist who despised the 'Idiot People'; he could be generous and affectionate yet hurled insults at his friends; he inveighed against Puritanism but was himself in many ways a Puritan: A. L. Rowse was a man of many contradictions.In this clear-sighted and absorbing biography, Richard Ollard examines the many sides of Rowse's Protean personality to reveal a man who, whatever he was responding to - public affairs, the arts, natural beauty or events in his personal life - did so with tremendous energy and passion. 'An urbane study of the celebrated historian.' Antonia Fraser, Daily Mail'Strikes a perfect balance between the Jekyll Rowse and the Hyde Rowse.' Bevis Hillier, Spectator 'Excellent.' Katherine Duncan-Jones, TLS

'Lively and entertaining... [Disraeli's Grand Tour] concentrates on one colourful episode, or sequence of episodes, in the young Disraeli's life: the tour through the Mediterranean and Near East which he undertook with the man who was intended to become his brother-in-law. On the way they were joined by raffish Wykhamist James Clay, a friend of Disraeli's brother, and also by Tita Falcieri, who had formerly been a servant to Byron. Indeed... much of the tour might almost be considered a Byronic pilgrimage of a kind... Lord Blake suggests that [Disraeli's] travels in the provinces of the Ottoman Empire inclined him, when in office many years later, to take a more favourable attitude to Turkish power than was common among Englishmen of his time. However, the author is more interested in tracing the effects of the visit to the Holy Land on Disraeli's view of his own position as a Jew converted to Christianity and an aspirant man-of-letters and politician.' Dan Jacobson, London Review of Books

First published in 1936, Calvocoressi's and Abraham's study was the first complete account of its subject to appear in any language, including Russian, and was based on a large amount of original first-hand research. Over 75 years later Masters of Russian Music retains its power - as any study of Tchaikovsky, Mussorgsky, Rimsky-Korsakof, Scriabin, Borodin et al really ought to, since these were composers whose extraordinary musical accomplishments still left room in their lives for all manner of other interesting (and sometimes eccentric) activities. The portraits in this volume are scholarly, authoritative, and highly lively - as befitting the eminent talents under discussion.

This richly enjoyable biography of the great Victorian novelist reminds us how truly revolutionary was George Eliot... [Ashton] provides luminously sane readings of the marvellous novels.' A.N. Wilson, Evening Standard'Excellent... Ashton cites Eliot's achievement in a literary landscape which moves from Scott and George Sand to Dickens, Tennyson and Browning... a fluent, vivid book... it makes one thrill again to the breadth of Eliot's genius and the passionate, vulnerable nature that accompanied her wide-ranging mind.' Jenny Uglow, Independent on Sunday'An extremely impressive work... the George Eliot who emerges from Professor Ashton's book is a remarkable woman of exceptional integrity whose life expresses the spirit of the Victorian age, even as it goes against the very grain of it.' Susie Boyt, Sunday Express

First published in 1966, Robert Bernard Martin's The Accents of Persuasion is a consummate critical study of Charlotte Bront,'s four novels: The Professor, Jane Eyre, Shirley and Villette. 'The bare facts are so literally improbable as to tease one into considering the lives of the Brontes themselves as some wild metaphorical statement of the Romantic conception of the world...Even the best of biography, however, may tend to serve history rather than literature, and one may be forgiven for wishing to return from their lives to the works of the sisters Bronte... The following study, then, is an attempt to search out the themes that occupied [Charlotte] Bronte in her novels and to demonstrate how they are given artistic life; in short, to show how Charlotte Bront, attempted to speak 'the language of conviction' in the 'accents of persuasion'.' (Robert Bernard Martin, from his Introduction.)

'What [Wilson] Harris is doing is to extend the boundaries of our very conception of fiction.' Robert Nye. First published in 1982, The Angel at the Gate is offered to readers as Wilson Harris's analysis and interpretation of the 'automatic writing' of 'Mary Stella Holiday': an assumed name for the secretary and patient of the late Father Joseph Marsden. 'Mary suffered from a physical and nervous malaise as The Angel at the Gate makes clear. Through Marsden - the medical care he arranged for her and the sessions he provided in Angel Inn which gave scope to her 'automatic talents' - that illness became a catalyst of compassion through which she penetrated layers of social and psychical deprivation to create a remarkable fictional life for 'Stella' (apart from 'Mary') in order to unravel the thread that runs through a diversity of association in past and present 'fictional lives.'' (From Harris's introductory 'Note.')

'My whole life, it's been assumed, Western civilisation is an old bitch gone in the teeth. And so people say, go to Israel. Because in Israel at least people are fighting. In Israel, they're fighting for something they believe in.' Via DolorosaIn 1997, after many invitations, the 50-year-old British playwright resolved finally to visit the 50-year-old State of Israel. The resulting play, written to be performed by the author himself, offers a meditation on an extraordinary trip to both Israel and the Palestinian territory, which leaves Hare questioning his own values as searchingly as the powerful beliefs of those he met. Accompanying Via Dolorosa is the 1996 lecture When Shall We Live?, which also addresses questions of art and faith. Originally given in Westminster Abbey as the Eric Symes Memorial Lecture, it attracted record correspondence when an abridged version was published in the Daily Telegraph.

An Englishman, an Irishman and an American are locked up together in a cell in the Middle East. As victims of political action, powerless to initiate change, what can they do? How do they live and survive? Frank McGuinness explores the daily crisis endured by hostages whose strength comes from communication, both subtle and mundane, from humour, wit and faith.Someone Who'll Watch Over Me premiered at the Hampstead Theatre, London, in 1992 before transferring to the West End. On Broadway, it was awarded the New York Drama Critics' Circle Award for Best Foreign Play and nominated for the Tony Award for Best Play in 1993.

How do you fight without hate?Racing Demon reveals the struggle of four clergymen to make sense of their mission. David Hare's play opened at the National Theatre, London, in 1990 to universal acclaim, and won four awards as Play of the Year. Racing Demon was the first part of David Hare's trilogy of plays about British institutions; Murmuring Judges and The Absence of War completed the trilogy.

In 1956 John Osborne's Look Back in Anger changed the course of English theatre.'Look Back in Anger presents post-war youth as it really is. To have done this at all would be a significant achievement; to have done it in a first play is a minor miracle. All the qualities are there, qualities one had despaired of ever seeing on stage - the drift towards anarchy, the instinctive leftishness, the automatic rejection of "e;official"e; attitudes, the surrealist sense of humour . . . the casual promiscuity, the sense of lacking a crusade worth fighting for and, underlying all these, the determination that no one who dies shall go unmourned.' Kenneth Tynan, Observer, 13 May 1956'Look Back in Anger . . . has its inarguable importance as the beginning of a revolution in the British theatre, and as the central and most immediately influential expression of the mood of its time, the mood of the "e;angry young man"e;.' John Russell Taylor

It was with this play that Harold Pinter had his first major success, and its production history since it was first performed in 1960 has established the work as a landmark in twentieth-century drama.The obsessive caretaker, Davies, whose papers are in Sidcup, is a classic comic creation, and his uneasy relationship with the enigmatic Aston and Mick established the author's individuality with an international audience.

'Life being what it is, one dreams of revenge.'Gauguin's aphorism serves as the motto for this morality tale of two women, both in their sixties, whose lives are interwoven in ways neither of them yet understand. Madeline Palmer is a retired curator, living alone on the Isle of Wight. One day to her door comes Angela Beale, a woman she has met only once, who is now enjoying sudden success, late in life, as a popular novelist. The progress of a single night comes fascinatingly to echo the hidden course of their lives.