Bücher veröffentlicht von Faber & Faber

A Fox under My Cloak (1954) was the fifth entry in Henry Williamson's fifteen-volume A Chronicle of Ancient Sunlight spanning the years from the late Victorian period to the Second World War. It follows Phillip Maddison into the Great War, surviving in the face of terror, from the famous Christmas Truce of 1914 to the gas attacks of the Battle of Loos the following year. While home in England on sick leave Phillip obtains his commission into a fashionable regiment in which his social inadequacies make him the butt of his fellow officers' scorn. Yet, alone among them, Phillip has tasted the bleak reality of life, and death, on the Western Front. 'Williamson's style is romantic, though rarely sentimental, and his sensuous response to nature is fresh and surprising.' Anthony Burgess, Ninety-Nine Novels: The Best in English since 1939

There is nothing like Keith Vaughan's Journals. They represent one of the greatest pieces of confessional writing of the twentieth-century. Keith Vaughan was a painter and belonged to the Neo-Romantic group, other members including Graham Sutherland, John Minton, Michael Ayrton, Ceri Richards, John Piper and John Craxton. He was also gay and much troubled by his sexuality. 'Faced at the age of 27 with what then seemed the likelihood of imminent extinction before I had properly got started', he began the Journals in 1939 and only finished them at the very moment of his suicide in 1977.The Journals are edited by Alan Ross, and in his words they are 'a self-portrait of astonishing honesty: devoid of disguise in any shape or form, or hypocrisy. It is difficult to think of anything in literature they resemble.' The earlier Journals, covering his war and his period of greatest creativity in the late 1940s and 1950s, 'are revealing for the light they shed on a painter's character and, to a lesser extent, working methods.' The last Journals chronicle 'a descent into hell . . . redeemed by their frankness, spleen and dry humour.' First published in 1966 and then reissued in amplified form in 1989, it is the latter version Faber Finds is reissuing. The fuller edition itself has been out of print for a long time, so its renewed availability will be welcome.

The Wet Flanders Plain was first published in 1929 - also the year of, inter alia, Remarque's All Quiet on the Western Front, Graves's Goodbye to All That, and Hemingway's A Farewell to Arms. Henry Williamson's book stands alongside those works as a classic of the Great War.In 1928 Williamson revisited the battlefields of Flanders and Northern France in the company of a fellow veteran. He wanted to 'return to my old comrades... to the brown, the treeless, the flat and grave-set plain of Flanders - to the rolling, heat-miraged downlands of the Somme - for I am dead with them, and they live in me again.' He hoped to rid himself of the 'wraiths' of the war. Whether or not he succeeded, he produced an unforgettable testament.'The Wet Flanders Plain emerges from the mass of War books as the most beautiful and the most terrible.' Outlook

Without exaggeration this can be said to be two books in one: it is both a biography of Harold Nicolson's father and a history of British diplomacy from the late nineteenth-century until the middle of the First World War. Described as 'the quintessential diplomat' Sir Arthur's various postings took in Berlin, Peking, Athens, Teheran, Budapest, Constantinople, Madrid and St Petersburg. During his career his instincts mutated from pro-German and hating France and Russia, into a stage of wanting to make friends with those two countries and hating Germany. Harold Nicolson has an interesting and brave hypothesis regarding the First World War making a distinction between its origin and its causes. Regarding the former, in the words of his biographer James Lees-Milne, 'Harold maintained that from the years 1900 to 1914 we, compared to the Germans, had a clean sheet, whereas regarding the latter, say from the year 1500 to 1900 our sheet was very black indeed. Our Elizabethans behaved worse than the Kaiser's imperialists. And when the Kaiser's imperialists in the last two decades of the nineteenth-century developed predatory instincts in Africa, they met from us ''pained and patronising surprise.'' Harold with justice and a good deal of courage blamed Great Britain for the causes and Germany for the origin of the great conflict.' Harold Nicolson always considered this to be his best book and its universally favourable reception supports that with the Times Literary Supplement observing that as a biography it was composed in the new intimate fashion introduced by Lytton Strachey. As has been said though, it was more than a biography, it was a history, and a most fascinating one, of the period leading up to the Great War.

'Arnold Bennett was born in a street called Hope Street. A street less hopeful it would be hard to imagine.' Thus begins Margaret Drabble's biography of a man whose most famous achievement was to re-create, in such novels as The Old Wives' Tale and Clayhanger, the life, atmosphere and character of the 'Five Towns' region in which he was born and grew up.Arnold Bennett is a very personal book. 'What interests me', writes the author, 'is Bennett's background, his childhood and origins, for they are very similar to my own. My mother's family came from the Potteries, and the Bennett novels seem to me to portray a way of life that still existed when I was a child, and indeed persists in certain areas. So like all books this has been partly an act of self-exploration.'Of Bennett as a writer Drabble says 'The best books I think are very fine indeed, on the highest level, deeply moving, original and dealing with material that I had never before encountered in fiction, but only in life: I feel they have been underrated, and my response to them is so constant, even after years of work on them and constant re-readings, that I want to communicate enthusiasm.'Of Bennett as a man she paints an affectionate portrait, not glossing over the irritability, dyspepsia and rigidity which at times made him so difficult a companion but reminding us too of his honesty, kindliness and sensitivity. 'Many a time,' she writes at the end of the book, 're-reading a novel, reading a letter or a piece of his Journal, I have wanted to shake his hand, or to thank him, to say well done. I have written this instead.'

In the spring of 1902, when the back-to-the-land movement was at its height, an exodus began to Chipping Campden in the Cotswolds. East End London workmen - jewellers, silversmiths, enamellers, cavers, modellers, blacksmiths, cabinet-makers, book-binders and printers - fled from the rushed and crowded life of the big city to a rural idyll of craftsmanship and husbandry which was, at the time, all good socialists' dream. This extraordinary idealistic movement was to have a lasting impact not only on the lives of the 150 London immigrants and their leader, the architect, Charles Robert Ashbee, but also on the nature of the little town they occupied. The Guild of Handicraft had been formed in Whitechapel in 1888. It blended an attitude to art, design and manufacture with a view of how society might be changed for the better. This book traces its fortunes and misfortunes, hilarious and grave, and the many eccentrics, idealists and men of letters and the arts who were involved, including William Morris, Roger Fry, Mrs Patrick Campbell, Edward Carpenter, Holman Hunt, Frank Lloyd Wright, Lowes Dickinson and Sidney and Beatrice Webb. Set in the heart of the Cotswolds, Fiona MacCarthy's account of this attempt to resolve the dilemma faced by artists and craftsmen working in a mass-produced society, documents one delightful and intriguing experiment in utopian social history.

The Brothers' War: Biafra and Nigeria was first published in 1972. In the UK it had the title The Nigerian Civil War. That is what it is about. In the early 1960s Nigeria looked set to be the major black African country. It seemed to be immune from the internecine struggles that bedevilled so many of the African states. The illusion of stability was shattered at the beginning of 1966. During the next four years the country suffered two bloody coups, a series of appalling massacres, and a protracted and savage civil war which claimed a million lives. This was a civil war on a par with the American and Spanish civil wars and like both those it was a desperate affair, fought to the bitter end by determined people who shared a common past and a common language.John de St. Jorre covered the conflict for the Observer. He was one of the few people to keep in touch with both sides. His account was objective and remains definitive.

Keith Douglas was almost certainly the greatest poet of the Second World War. He was killed in Normandy three days after D-Day. He was only twenty-four. His short life was one of contradictions: the gifted artist and romantic, always in love with the wrong girl also enjoyed soldiering and was quick to volunteer at the beginning of the war. The brave and resourceful tank commander with the Sherwood Rangers in the Western Desert, in the campaign of which his Alemein to Zem Zem is the classic account, was also an outspoken critic of the military establishment and often in trouble with his superiors. There was always another side to Keith Douglas: difficult, even arrogant, he was at the same time, as Desmond Graham, observes in his original preface, 'generous, sensitive to the difficulties of others, remorselessly honest, energetic, and passionately, innocently open.' Douglas made in his brief life some friends who never forgot him, and whose memories of him have contributed much to this book.For this biography, Desmond Graham had access to much private and unpublished material. From that, interviews, Keith Douglas' own poems, letters and drawings emerges a definitive biography.'An almost unqualified success . . . Mr Graham has used his material with great skill and tact.' Roy Fuller'It is difficult to imagine a better biography than this being written about Keith Douglas . . . Desmond Graham provides us with an astonishing amount of information.' Stephen Spender'Extremely well-done . . It is written with authority and it will be standard.' Peter Levi'Sumptuously evocative' John Carey

Disappointment can be salutary. In the 1955 election Michael Foot surprisingly lost his seat. Until then he had been a journalist, albeit a prolific and influential one. He now had more time on his hands. To both his father, Isaac Foot, and himself Jonathan Swift was a hero. His father, who believed writing to be the supreme vocation, now encouraged him to write a book on Swift. The result was The Pen and the Sword. Michael Foot concentrates on the crucial two years of 1710-11. In that time Swift published one of his most devastating polemics The Conduct of the Allies that tore into the Whig government and the Duke of Marlborough in particular. It is an important moment in English History: the pen and the sword fought a duel, and the pen proved the stronger of the two.First published in 1957 it was well and widely reviewed. 'Enthralling ... a fine piece of historical writing.' Spectator 'An exciting story excellently narrated ... a lucid guide to one of the most complicated patterns of intrigue and manoeuvre that the eighteenth-century can provide ... intensely dramatic.' Harold Nicolson, Observer

Olivier Messiaen was one of the outstanding creative artists of his time. The strength of his appeal, to listeners as well as to composers, is a measure of the individuality of his music, which draws on a vast range of sources: rhythms of twentieth-century Europe and thirteenth-century India, ripe romantic harmony and brittle birdsong, the sounds of Indonesian percussion and modern electronic instruments. What binds all these together is, on one level, his unswerving devotion to praising God in his art, and on another, his independent view of how music is made. Messiaen's music offers a range of ways of experiencing time: time suspended in music of unparalleled changelessness, time racing in music of wild exuberance, time repeating itself in vast cycles of reiteration.In Olivier Messiaen and the Music of Time, leading writer and musicologist, Paul Griffiths, explores the problems of religious art, and includes searching analyses and discussions of all the major works, suggesting how they function as works of art and not only as theological symbols. This comprehensive and stimulating book covers the whole of Messiaen's output up to and including his opera, Saint Fran,oise d'Assise.

The expression 'femme fatale' could have been coined for Barbara Skelton. She had many admirers - Peter Quennell, Feliks Topolski, Cyril Connolly, King Farouk, George Weidenfeld, Derek Jackson, the list is not exhaustive - some of whom she married. Tears Before Bedtime and Weep No More were first published separately in 1987 and 1989; they then appeared in one paperback volume in 1993. It is in this form they are being reissued in Faber Finds.As Jeremy Lewis, her literary executor, puts it these memoirs 'combine waspishness and wit in equal measure. She had a keen eye for the absurd, and a ruthless ability to skewer friends and foes alike with an exact and colourful turn of phrase ...''Uniquely savage memoirs of rackety highbrow life ... One feels Balzac is the novelist who would best do justice to all this in fictional form.' Anthony Powell'Provides some of the funniest reading I can remember.' Auberon Waugh, Independent 'The two volumes together make a memorable portrait. She deserves to have her likeness preserved and by a writer as good as herself.' Frank Kermode, Guardian

Covering the period from the publication of Alice's Adventures in Wonderland to Winnie-the-Pooh, Humphrey Carpenter examines the lives and writings of Lewis Carroll, Kenneth Grahame, George Macdonald, Louisa May Alcott, Frances Hodgson Burnett, A.A. Milne and others whose works make up the Golden Age of children's literature.Both a collective biography and a work of criticism, Secret Gardens forces us to reconsider childhood classics in a new light. 'Secret Gardens permits us to see in a fresh light the interaction between cultural history and literature, and to realize that ... it wasn't mere misfits who withdrew into the writing of children's books, but rather the sort of misfits who reflected the prevailing dissatisfactions of the age.' New York Times Book Review

In 1946 Roy Farrell and Syd de Kantzow's beloved, battered wartime DC-3 touched down in Shanghai for the first time. On board was a cargo of morning coats and toothbrushes from New York, forging the first post-war supply route across the treacherous eastern Himalayas. The international airline now known as Cathay Pacific was born.Gavin Young tells the swashbuckling story of an empire of the air, a thrilling, action-packed adventure that began in an era closer to Biggles and biplanes held together by wire and safety pins than to our own.'Pioneers like Farrell and de Kantzow would have had plenty of time to enjoy the dawn over Kangchebjunga. Would thye think of us with envy or contempt, cruising seven miles up with hundreds of passengers, air-conditioning, i-flight concerts, movies, hot four-course meals with an elaborate wine line and all mod-cons? . . . All this in forty years! Could the world have changed so much and so fast?' This is Gavin Young himself eloquently reflecting on the extraordinary changes in air travel. There can be little doubt where his own sympathies lie.

Mass Observation was founded by Tom Harrisson, Charles Madge and Humphrey Jennings in 1937. Its purpose was to create 'an anthropology of ourselves' in other words, to study the everyday lives of ordinary people in Britain. Discounting an initial pamphlet, this was the first book to be published. It appears in Faber Finds as a part of an extensive reissue programme of the original Mass Observation titles. May the Twelfth is a portrait of life on a single day, the day of the Coronation of George V1 in 1937. Compiled from the individual reports of hundreds of people, the Mass Observers, from all walks of life, it vividly recreates the atmosphere and excitement of a great national occasion. When first published it received a long review from Evelyn Waugh in the short-lived Night and Day. One might have imagined it wouldn't have been to his taste but he was won round. Having congratulated Faber on the price of 12s 6d he goes on to say, '. . . it would be hard to find any recent work of the same length which had so little that was dull and so much that was highly amusing.' He especially praises the London section, 'The succeeding section on London's May 12 could scarcely be better. It provides a real documentary survey of the event as seen by the crowds.'

Mass Observation was founded by Tom Harrisson, Charles Madge and Humphrey Jennings in 1937. Its purpose was to create 'an anthropology of ourselves' in other words, to study the everyday lives of ordinary people in Britain. Discounting an initial pamphlet, this was the second book to be published. It appears in Faber Finds as a part of an extensive reissue programme of the original Mass Observation titles. Subjects covered include smoking, pub-going and football pools. There is a section given over to some of those who had joined Mass Observation where they explain their reasons for doing so. To quote the original blurb, 'They include a London park-keeper, a working class girl in the North of England, a middle-aged worker in an armaments factory, a woman teacher in an infant school, a naval petty-officer, a bus-driver's wife, a Yorkshire weaver, a hospital nurse, a pharmacist in the East End and a steel worker in Scotland.'

In the chaos of the English Civil War and Puritan Commonwealth, churches were defaced and organs broken, but the tradition of fine music survived. When Charles II returned from exile in 1660, one of the first things he demanded was music, sacred and profane, anthems and motets, pavannes and gavottes. In 1659 Henry Purcell was born, and his genius would give the period and nation an unforgettable voice.Jonathan Keates traces Purcell's development against the turbulent movements of his time - political, religious, theatrical and social. He shows him growing up in the shadow of Westminster Abbey and follows him as a chorister in the Chapel Royal, copying the innovative and colourful style of Matthew Locke; beginning to composer for the theatre, and for State occasions; writing his great settings of sacred music, his chamber sonatas, and his triumphant Dido and Aeneas, the first British opera.In the background are the heady politics of Restoration England, which expelled the Stuart James II and brought William and Mary to the throne. But almost more important is the rich musical history, the influence of French and Italian composers, blending with and modifying the native tradition. We know and love Purcell through his work; his songs were sung in taverns, his psalms in churches; he was urbane and witty, impassioned and profound.This engrossing biography is as remarkable for its sensitive critical appreciation of Purcell's music, in all its forms, as it is for its vivid portrait of the man, and the boisterous age in which he lived.

This is a tweedy purveyor of folklore; too many larks ascending and too much. "e;Linden Lea"e;: no composer's work has ever been more cruelly stereotyped than that of Ralph Vaughan Williams. The truth could hardly have been more different: that folksy feel masked the highest sophistication, that countrified air the most audacious experimentation. If, unlike his Germanizing contemporary Elgar, Vaughan Williams did indeed open the way to a distinctively English Music, his was an Englishness which owed nothing to narrow-mindedness or lack of artistic enterprise. Fifty years after his death in 1958, Vaughan Williams' reputation is greater than ever before and there is a resurgence of interest in his music. Re-issued to coincide with this anniversary, Simon Heffer's perceptive book lends weight to the increasingly compelling case for Vaughan Williams' recognition as the most important English composer of the twentieth century. "e;A vivid and appealing picture of an irresistibly likeable figure...I enjoyed this little book enormously"e;. ("e;Spectator"e;). "e;An affectionate, accurate and shrewd account of Vaughan Williams' life ...the author's astute commentary on it betokens close and knowledgeable acquaintance"e;. ("e;Sunday Telegraph"e;).

The Magic Bottle - originally published in 1946 - is the only book for children by much-loved Golden Age crime writer Cyril Hare.When Philip and his sister Mary opened the oddly-shaped bottle and found that they had released a Djinn, Philip, who knew his Arabian Nights, feared the worst. But the Djinn was an unexpected kind of Djinn, and his release was the start of some very unexpected adventures ...'His style is easy and fluent, and his books are eminently readable ... A great novelist.' Spectator

Erik Tawaststjerna embarked on his monumental and acclaimed study of Jean Sibelius's life and music in 1960 and it occupied him for over a quarter of a century. His study differs from other work on the composer in one important respect: he had unrestricted access to the composer's papers, diaries and letters as well as the advantage of numerous conversations with the composer's widow and other members of the family. Thus his researches can justifiably claim to have thrown entirely fresh light on the great Finnish composer. Far from the remote personality of the Sibelius legend, Sibelius emerges as a highly colourful figure. This third volume traces the composer's career from the outbreak of the First World War in 1914, which found him poised on the brink of the Fifth Symphony, through to his death in 1957. It traces the genesis of the Fifth Symphony and gives a vivid portrait of Finland during the early years of independence and civil war. Tawaststjerna relates in fascinating detail the composer's financial plight during these years and his struggles with his own psyche. We follow his career through to the Seventh Symphony and Tapiola, and the increasingly corrosive streak of self-criticism which blighted Sibelius's last years and resulted in the destruction of the Eighth Symphony.Translated by Robert Layton, himself a Sibelius specialist, this is a compelling and insightful account of the music of one of the twentieth century's greatest composers.

Erik Tawaststjerna embarked on his authoritative study of Sibelius in 1960, and it occupied him for over a quarter of a century. His book differs from other work on the composer in one important respect: he had unrestricted access to the composer's papers, diaries and letters as well as the advantage of numerous conversations with the composer's widow and other members of the family. Thus his researches can justifiably claim to have thrown entirely fresh light on the great Finnish composer. Far from the remote personality of the Sibelius legend, Sibelius emerges as a highly colourful figure. Translated by Robert Layton, himself a Sibelius specialist, this first volume (the first of three) takes us up to the period of the Second Symphony and the Violin Concerto, with perceptive and searching studies of the music including a number of early works, The Burning of the Boat, the Kullervo Symphony and the two versions of En Saga.'A remarkable and deeply impressive book. The English text unquestionably succeeds in giving a subtle and scholarly rendering of a profound study of Sibelius and his music.' Economist

The first night of Richard Brinsley Sheridan's The School for Scandal, on 8 May 1777, was one of the great dates in theatrical history. From then on, Sheridan was launched into eighteenth-century society, as much at home in the salons of the Duchess of Devonshire and the Prince of Wales as in the taverns and coffee-houses around Drury Lane.Sheridan's comedies were all written by the time he was twenty-eight. For the next thirty years he was wholly involved in his twin careers as manager of the Drury Lane theatre and Member of Parliament. At a time when politics were dominated by a few aristocratic families, he rose above his poverty to become one of the greatest parliamentary figures of the age. In the theatre, he presided over one of the most brilliant periods in the history of the English stage.Drawing on a wide variety of sources, Kelly gives a comprehensive picture of Sheridan's tempestuous career and chaotic private life. For all his faults, his charm was irresistible - 'there has been nothing like it since the days of Orpheus,' wrote Byron. It is charm that illuminates her narrative, bringing Sheridan to life.'I can imagine no better biography of this talented, dynamic, impossibly unreliable firework of a man.'Victoria Glendinning, Daily Telegraph

'It was because I was afraid that I had decided to attempt a crossing of the great Sahara desert, from west to east, by myself and by camel. No one had ever made such a journey before . . .'In October 1972 Geoffrey Moorhouse began his odyssey across the Sahara from the Atlantic to the Nile, a distance of 3,600 miles. His reason for undertaking such an immense feat was to examine the roots of his fear, to explore an extremity of human experience.From the outset misfortune was never far away; and as he moved further into that 'awful emptiness' the physical and mental deprivation grew more intense. In March 1973, having walked the last 300 miles, Moorhouse, ill and exhausted, reached Tamanrasset, where he decided to end his journey. The Fearful Void is the moving record of his struggle with fear and loneliness and, ultimately, his coming to terms with the spiritual as well as the physical dangers of the desert.

Between 1347 and 1350, the Black Death killed at least one third of Europe's population. Philip Ziegler's classic account traces the course of the virulent epidemic through Europe and its dramatic effect on the lives of those whom it afflicted. First published nearly forty years ago, it remains definitive.'The clarity and restraint on every page produce a most potent cumulative effect.' Michael Foot

The main protagonist of Men Like Gods is Mr Barnstaple, a careful driver and depressive journalist writing for The Liberal newspaper. It is to his consternation, therefore, that while carefully motoring along the Maidenhead road he skids on a bend and finds himself in another world altogether - in short, a supposed Utopia. This Utopia has its own socialist government and is very similar to the Earth. However, as pathogens have been eliminated the newly arrived visitors from Earth pose a grave threat to the Utopians by compromising their already weak immune systems. The people from earth find themselves being quarantined until a solution to this problem can be found. As no progress is being made many begin to resent this isolation and before long some plot to take over Utopia. Mr Barnstaple finds himself a total outsider, both with the Utopians and his fellow earthlings, and escapes from the quarantine castle just as the Earthlings' revolt begins. How can he survive in this Utopia and how can he get back to his Earth?Men Like Gods was first published in 1923.

Lonely and forlorn after their mother's death and their sudden arrival at Aunt Mabel's seaside boarding-house, John, Mary and Ben Mallory are unimpressed with their new life in England. But there are wonderful surprises in store for them when they discover a secret way into the grand and empty house next door. Soon all sorts of unexpected events will unfold as the siblings encounter a whole host of eccentric characters and happenings.Completed in 1963, The Secret Passage is Nina Bawden's first children's novel and was written especially for her own three children after they had discovered a secret passage in the cellar of their house. It beautifully reflects her own inquisitive nature - as she herself has said: 'I was a keyhole child, fearsomely curious' - wedded to her subtly innovative ability to empathise with the child's view.

On the Scottish island of Skua, friendship develops between the lonely and mysterious Perdita and a blind girl, Janey. Both possess a kind of second sight - Janey's is the ability to hear, feel and remember more than others, and Perdita's is the ominous legacy of her being a witch's daughter. When Janey's brother, Tom, starts investigating a cluster of mysterious events and suspicious characters, all three become entwined in an adventure of hidden jewels, desperate criminals and dangerous detection.Written in 1963, The Witch's Daughter showcases Nina Bawden's innate regard for the integrity of her young characters. As she has said: 'I like writing for children. It seems to me that most people underestimate their understanding and the strength of their feelings and in my books for them I try to put this right.' Hugely admired on publication by both reviewers and readers, it was described as 'thrilling' by the Times Literary Supplement.

In The Great Tradition, published in 1948, F. R. Leavis seemed to rate the work of Charles Dickens - with the exception of Hard Times - as lacking the seriousness and formal control of the true masters of English fiction. By 1970, when Dickens the Novelist was published on the first centenary of the writer's death, Leavis and his lifelong collaborator Q. D. (Queenie) Leavis, had changed their minds. 'Our purpose', they wrote, 'is to enforce as unanswerably as possible the conviction that Dickens was one of the greatest of creative writers . . .'In seven typically robust and uncompromising chapters, the Leavises grapple with the evaluation of a writer who was then still open to dismissal as a mere entertainer, a caricaturist not worthy of discussion in the same breath as Henry James. Q. D. Leavis shows, for example, how deeply influential David Copperfield was on the work of Tolstoy, and explores the symbolic richness of the nightmare world of Bleak House. F. R. Leavis reprints his famous essay on Hard Times, with its moral critique of utilitarianism, and reveals the imaginative influence of Blake on Little Dorrit. Q. D. Leavis contributes a pathbreaking chapter on the importance of Dickens's illustrators to the effect of his work.

The pioneering oral historian, George Ewart Evans, began to record the farming ways of East Anglia in the 1950s by listening to old men and women whose memories went back more than fifty or sixty years. Many were agricultural labourers, born before the turn of the century, who had worked on farms before the arrival of mechanisation. It was assumed at that time that horses would soon disappear from the farms, and that this was the last chance of recording the part they had played for centuries. It later became clear that this forecast was too pessimistic and in Horse Power and Magic (Faber, 1979) Ewart Evans describes in fascinating detail some important farms where horses continued to be beneficially used more than thirty years later. He discovered that the traditions of the older horsemen had not died out but had been passed on, in only slightly attenuated form, to a younger generation keen to farm with horses, proving that the day of the heavy horse was by no means over. He also describes vividly the ways of horse-tamers whose skills had a touch of 'magic' about them.'Taking his works a whole, there is no doubt that George Ewart Evans will survive as a fascinating pioneer of the extra-academic recording of human history...he has found a dimension all his own. This is indeed the very stuff of history.' Sunday Times

Camille Saint-Sa,ns began as a child prodigy and was acclaimed in his lifetime as the incarnation of French genius. His was one of the longest careers in musical history, stretching from the traditions of Beethoven to the innovations of the twentieth century, including one of the earliest film scores. As a virtuoso pianist he achieved international fame, while Liszt proclaimed him the world's greatest organist. A prolific composer, there is much more to him than his best-known work, the witty Carnival of the Animals, of which he forbade performances in his lifetime. Among his most notable achievements are the opera Samson et Delila and the Organ Symphony, while the Danse Macabre, second piano concerto and first cello concerto remain much loved.As a young man, he supported the 'new music' of Liszt, Wagner and Berlioz and introduced the symphonic poem into French music. He championed an up-and-coming generation of French composers, most notably Faur,, and played a unique part in transforming French taste from grand opera and operetta to the classical forms of symphony and chamber music, at the same time reviving interest in the music of Bach and Rameau.His personal life was combative, tragic and surrounded by rumour: as a boy during the Revolution of 1848, serving as a National Guard in the war of 1870, and eventually becoming something of an icon of the Third Republic, used in diplomacy as a symbol of French culture.This fascinating book (Chatto & Windus 1999) places his long and controversial career in a turbulent period when music, no less than politics, was undergoing sensational and often stormy change.

'Beyond question the book of the year.' SpectatorChaim Weizmann was a great man, one of the founders of modern Israel. He was also a chemist of international repute. His work in the thirties led him to a cheap way of synthesising oil. But politics took over and it seemed Weizmann had died without passing on his revolutionary knowledge. In the oil-starved seventies, it falls to Igor Druyanov to reconstruct that magic formula. And the chase is on, for the news will overturn the Middle East . . .Tense, intelligent and stylish, The Sun Chemist is gripping spy thriller from a true master of the genre.