In Humphrey Carpenter's own words, 'This is the story of the longest-ever literary party, which went on in Montparnasse, on the Left Bank, throughout the 1920s.' 'This book', to continue to quote Carpenter himself, 'is chiefly a collage of Left-Bank expatriate life as it was experienced by the Hemingway generation - "The Lost Generation", as Gertrude Stein named it in a famous remark to Hemingway.' There are brief portraits of Gertrude Stein, Natalie Clifford Barney and Sylvia Beach, who moved to Paris before the First World War and provided vital introductions for the exiles of the 1920s. The main narrative, however, concerns the years 1921 to 1928 because these saw the arrival and departure of Hemingway and most of his Paris associates. 'He is a compelling guide, catching the kind of idiosyncratic detail or incident that holds the readers' attention and maintains a cracking pace. Anyone wanting an introduction to the constellation of talent that made the Left Bank in Paris during the Twenties a second Greenwich Village would find this a useful and inspiring book.' Times Educational Supplement

This book is an appreciation of selected authors who make extensive use of humor in English detective/crime fiction. Works using humor as an amelioration of the serious have their heyday in the Golden Age of crime writing but they belong also to a long tradition. There is an identifiable lineage of humorous writing in crime fiction that ranges from mild wit to outright farce, burlesque, even slapstick. A mix of entertainment with instruction is a tradition in English letters. English crime fiction writers of the era circa 1913 to 1940 were raised in the mainstream literary tradition but turned their skills to detective fiction. And they are the humorists of the genre. This book is not an exhaustive study but an introduction into the best produced by the most capable and enjoyable authors. What the humorists seek is to surprise the reader by overturning their expectations using a repertoire of stylistic conceits and motifs (recurring incidents, devices, references). Humor has a liberating effect but is concerned too with "comic contrast" through ugliness and caricature. In crime fiction one effect is intellectual pleasure at solving (or attempting to solve) a puzzle. Another is entertainment but with serious undertones.

This set comprises of 40 volumes covering nineteenth and twentieth century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995.

From the author of the internationally acclaimed Wintering: A Novel of Sylvia Plath comes a funny, touching memoir of a crummy—and crumby—childhood. Growing up in the 1960s and ’70s, Kate Moses was surrounded by sugar: Twinkies in the basement freezer, honey on the fried chicken, Baby Ruth bars in her father’s sock drawer. But sweetness of the more intangible variety was harder to come by. Her parents were disastrously mismatched, far too preoccupied with their mutual misery to notice its effects on their kids. A frustrated artist, Kate’s beautiful, capricious mother lived in a constant state of creative and marital emergency, enlisting Kate as her confidante—“We’re the girls, we have to stick together”—and instructing her three children to refer to her in public as their babysitter. Kate’s father was aloof, ambitious, and prone to blasts of withering abuse increasingly directed at the daughter who found herself standing between her embattled parents. Kate looked for comfort in the imaginary worlds of books and found refuge in the kitchen, where she taught herself to bake and entered the one realm where she was able to wield control. Telling her own story with the same lyricism, compassion, and eye for lush detail she brings to her fiction, coupled with the candor and humor she is known for in her personal essays, Kate Moses leavens each tale of her coming-of-age in Cakewalk with a recipe from her lifetime of confectionary obsession. There is the mysteriously erotic German Chocolate Cake implicated in a birds-and-bees speech when Kate was seven, the gingerbread people her mother baked for Christmas the year Kate officially realized she was fat, the chocolate chip cookies Kate used to curry favor during a hilariously gruesome adolescence, and the brownies she baked for her idol, the legendary M.F.K. Fisher, who pronounced them “delicious.” Filled with the abundance and joy that were so lacking in Kate’s youth, Cakewalk is a wise, loving tribute to life in all its sweetness as well as its bitterness and, ultimately, a recipe for forgiveness.