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.

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY KIRKUS REVIEWS Good Prose is an inspiring book about writing--about the creation of good prose--and the record of a warm and productive literary friendship. The story begins in 1973, in the offices of The Atlantic Monthly, in Boston, where a young freelance writer named Tracy Kidder came looking for an assignment. Richard Todd was the editor who encouraged him. From that article grew a lifelong association. Before long, Kidder's The Soul of a New Machine, the first book the two worked on together, had won the Pulitzer Prize. It was a heady moment, but for Kidder and Todd it was only the beginning of an education in the art of nonfiction. Good Prose explores three major nonfiction forms: narratives, essays, and memoirs. Kidder and Todd draw candidly, sometimes comically, on their own experience--their mistakes as well as accomplishments--to demonstrate the pragmatic ways in which creative problems get solved. They also turn to the works of a wide range of writers, novelists as well as nonfiction writers, for models and instruction. They talk about narrative strategies (and about how to find a story, sometimes in surprising places), about the ethical challenges of nonfiction, and about the realities of making a living as a writer. They offer some tart and emphatic opinions on the current state of language. And they take a clear stand against playing loose with the facts. Their advice is always grounded in the practical world of writing and publishing. Good Prose--like Strunk and White's The Elements of Style--is a succinct, authoritative, and entertaining arbiter of standards in contemporary writing, offering guidance for the professional writer and the beginner alike. This wise and useful book is the perfect companion for anyone who loves to read good books and longs to write one. Praise for Good Prose "Smart, lucid, and entertaining."--The Boston Globe "You are in such good company--congenial, ironic, a bit old-school--that you're happy to follow Kidder and Todd] where they lead you."--The Wall Street Journal " A] well-structured, to-the-point, genuinely useful, and fun-to-read guide to writing narrative nonfiction, essays, and memoir . . . Crisp, informative, and mind-expanding."--Booklist "A gem . . . The finer points of creative nonfiction are molded into an inspiring read that will affect the would-be writer as much as Anne Lamott's Bird by Bird or Stephen King's On Writing. . . . This is a must read for nonfiction writers."--Library Journal "As approachable and applicable as any writing manual available."--Associated Press