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EVERY CITY HAS A NOTTING HELL . . . "A spot of extramarital nookie with a close neighbor is one thing. We're all grown-ups here. But selling a rare-to-the-market mid-Victorian house -- not merely a house but our children's ancestral family home -- on a communal garden, the sort of house that a banker would trample over his own grandmother to spend his bonus on -- is another thing entirely. It's wrong." Meet Mimi. Mimi may "have it all" -- the house, the children, the part-time vanity job, the skinny jeans, the feng shui guru -- but life chez Fleming is not as cushy as she'd like (husband Ralph prefers the trout stream to the fast lane). And when Mimi meets Si, the new billionaire on the block, at a sushi party, she soon faces a choice of keeping up or keeping it real. Then there's her best friend Clare, neat-freak garden designer, deep in biopanic about her childlessness with eco-architect husband, Gideon. Clare monitors all illicit activity in the private West London compound, from light adultery to heavy construction, and she is watching Mimi. . . . Notting Hell is a wickedly funny and oh-so-recognizable comedy of manners, filleting life on a communal garden in London. So take your irreplaceable numbered key and enter Lonsdale Gardens, the world of wealthy one-upmanship, where the old-fashioned laws of love still rule among the stainless steel kitchen appliances, cashmere throws, and compassionately produced cups of latte. INCLUDES "Notting Hill for Beginners," a witty guide to the must-haves and must knows of Notting Hill
Mimi struggles with raised levels of having it all in the face of her husband's laid-back personal life and a billionaire newcomer, while Clare frets about her childless state and the private misdemeanors of her friends and neighbors.
The Napoleon of Notting Hill is a futuristic novel set in London in 1984. Chesterton envisions neither great technological leaps nor totalitarian suppression. Instead, England is ruled by a series of randomly selected Kings, because people have become entirely indifferent. The joker Auberon Quin is crowned and he instates elaborate costumes for every sector of London. All the city's provosts are bored with the idea except for the earnest young Adam Wayne - the Napoleon of Notting Hill.
'I just loved it. Lethally funny and so clever.' - Jilly Cooper I ADORED it. It's the most fun I've had with a book in a long time, and I love how she writes - so many dazzling sentences and phrases.' - Marian Keyes Debt, double-basements, dastardly bankers...and DIVORCE? 'Hell is other people' and journalist Mimi Fleming is fast realizing on her return to Notting Hill that there is no greater hell than the W11 neighbours with whom she shares an exclusive communal garden. Since she's been away, all her friends have become - impossibly - even richer, thinner, and YOUNGER. They're busy not just turning back the clock but also their homes into palatial iceberg houses - with basement swimming pools. But Mimi's troubles are just beginning. There's the compromising and risky mission she'd undertaking to re-launch her so-called journalism career (plus an embarrassing case of mistaken identity thanks to Google). Then there's her children who will only communicate via WhatsApp . And worst of all, Mimi's fallen for someone, and it's certainly not her husband Ralph. Ralph and Mimi have already been to Notting Hell and back. But is this the end or the beginning of something new?
Prepare to fall head over heels. The perfect book for fans of Josie Silver, This Time Next Year, and anyone who ever fell in love with the wrong person... ‘Gorgeously festive and romantic’ Rosie Walsh, bestselling author of The Man Who Didn’t Call
Can the most famous film star in the world fall for the man in the street?
A young mother gets more than she bargained for when her blog about glamorous west-London 'Alpha Mums' goes viral.
Black people in the British Empire have long challenged the notion that "there ain't no black in the Union Jack." For the post-World War II wave of Afro-Caribbean migrants, many of whom had long been subjects of the Empire, claims to a British identity and imperial citizenship were considered to be theirs by birthright. However, while Britain was internationally touted as a paragon of fair play and equal justice, they arrived in a nation that was frequently hostile and unwilling to incorporate Black people into its concept of what it meant to be British. Black Britons therefore confronted the racial politics of British citizenship and became active political agents in challenging anti-Black racism. In a society with a highly racially circumscribed sense of identity-and the laws, customs, and institutions to back it up-Black Britons had to organize and fight to assert their right to belong. In London Is The Place for Me, Kennetta Hammond Perry explores how Afro-Caribbean migrants navigated the politics of race and citizenship in Britain and reconfigured the boundaries of what it meant to be both Black and British at a critical juncture in the history of Empire and twentieth century transnational race politics. She situates their experience within a broader context of Black imperial and diasporic political participation, and examines the pushback-both legal and physical-that the migrants' presence provoked. Bringing together a variety of sources including calypso music, photographs, migrant narratives, and records of grassroots Black political organizations, London Is the Place for Me positions Black Britons as part of wider public debates both at home and abroad about citizenship, the meaning of Britishness and the politics of race in the second half of the twentieth century. The United Kingdom's postwar discriminatory curbs on immigration and explosion of racial violence forced White Britons as well as Black to question their perception of Britain as a racially progressive society and, therefore, to question the very foundation of their own identities. Perry's examination expands our understanding of race and the Black experience in Europe and uncovers the critical role that Black people played in the formation of contemporary British society.
Cyclogeography is about the bicycle in the cultural imagination and also a portrait of London as seen from the saddle. In the great tradition of the psychogeographers, Jon Day attempts to depart from the map and reclaim the streets of the city. Informed by several grinding years spent as a bicycle courier, he lifts the lid on the solitary life of the courier. Traveling the unmapped byways, shortcuts, and urban edgelands, couriers are the declining, invisible workforce of the city. The parcels they deliver keep things running. For those who survive the crushing toughness of the job, the bicycle can become what holds them together.