Kirjahaku

Originally published in 1984, Iris Murdoch, widely regarded as one of the major British novelists of her generation at the time, was undoubtedly one of the most popular and prolific, having published twenty-one novels since 1954 (she went on to write many more). But the course of her fiction-writing career was regarded with unease by some of her readers in that it seemed marked by an increasing conservatism of approach which could not have been foreseen in her earliest published fiction. She was acknowledged as one of Britain’s leading moral philosophers and although this study is careful to respect the distinctive integrity of her fiction-writing and her philosophy, it none the less assumes her active presence in contemporary debate as one of the most powerful and original theorists of fiction writing at the time. In this study, Richard Todd systematically, but discriminatingly, surveys all her fiction to date, and attempts to show how her fundamental theme, the interplay between the roles of artist and saint, is developed and expressed in her fiction.

Originally published in 1984, Iris Murdoch, widely regarded as one of the major British novelists of her generation at the time, was undoubtedly one of the most popular and prolific, having published twenty-one novels since 1954 (she went on to write many more). But the course of her fiction-writing career was regarded with unease by some of her readers in that it seemed marked by an increasing conservatism of approach which could not have been foreseen in her earliest published fiction. She was acknowledged as one of Britain’s leading moral philosophers and although this study is careful to respect the distinctive integrity of her fiction-writing and her philosophy, it none the less assumes her active presence in contemporary debate as one of the most powerful and original theorists of fiction writing at the time. In this study, Richard Todd systematically, but discriminatingly, surveys all her fiction to date, and attempts to show how her fundamental theme, the interplay between the roles of artist and saint, is developed and expressed in her fiction.

A.S. Byatt (1936) has become known world-wide for her award-winning novel Possession (1990). This thrilling story of romance and literary detection, spanning the nineteenth and twentieth centuries, has prompted a widespread reappraisal of Byatt’s entire oeuvre throughout Europe, the United States, and elsewhere, where she is often read in translation. Richard Todd’s assessment of Byatt’s literary identity treats the entire range of her writing from her earliest novels and essays to the present. Topics covered include Byatt’s conviction that all her writing forms part of one activity along with her astonishing range of reading; her fictional treatment of families and biographers; her belief that her characters must be portrayed as thinking being profoundly affected by joy and loss; her interest in writing about painting; and her articulately-held belief on matters such as religion and philosophy, metaphor and fairy tale.

The celebrated literary memoir and chronicle of one man's search for the elusive gift of authenticity. Troubled by the lack of substance in contemporary life, Richard Todd suspects that much of what we experience is false. In this unique pursuit of the "genuine," Todd examines his search for authenticity in places and objects, in politics and ideas, and in ourselves, and recounts his efforts to understand the desire to be a real person in a real world.

When Max broke his back he thought that his life was as good as over, but when he met Earl he realised that perhaps that wasn't so. Earl's head injury might have left him with trouble in working out the details of exactly what was happening, but Max was after his muscle, not his brains. Meanwhile in downtown Central City trouble is brewing. The turf war between the Jacksons and the Guzmans is hotting up and when Max and Earl stumble into the middle of it all Max sees an opportunity for revenge, but Max's getting even might just be the spark that could cause the whole place to explode. "As dark as a moonless midnight and hard as a brick to the face... Noir fans take note" - Eric Beetner on "Simple Acts of Kindness"

Bob can’t believe his luck. Why a woman like Ellie would be interested in a man like him he doesn’t know and he doesn’t care. Neither does he worry what the deal is between her and Vinny. For sure Vinny scares the hell out of him but Ellie only works for Vinny and Bob just wants a good time, and the thing he has for Ellie, well it’s nothing serious.Bob works hard and there’s no reason why he shouldn’t let off a little steam. His wife and kids will never know and his friends will turn a blind eye. His behaviour may be bad but it's not as if anyone’s going to get hurt.But soon Bob finds that he has more to worry about than just Vinny. There’s also Benny, and Jimmy’s just back from a five stretch inside. Then there’s the cop Murray who seems to take things a little too personally, and there’s his pal Joe who’s taking the moral high ground.Before he knows it Bob’s in so deep he can’t see a way out. At least not until Vinny shows him one. Bob reckons that he owes his boss Dirkze nothing and that maybe Vinny’s plan can solve all of their problems. Maybe. Or maybe it’s just the start of them.With Simple Acts of Kindness Richard Todd delivers a gritty urban noir that’s as twisted as it is addictive and original.