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A unique novel about life in a 14th-century convent by one of England's most original authors. Sylvia Townsend Warner’s The Corner That Held Them is a historical novel like no other, one that immerses the reader in the dailiness of history, rather than history as the given sequence of events that, in time, it comes to seem. Time ebbs and flows and characters come and go in this novel, set in the era of the Black Death, about a Benedictine convent of no great note. The nuns do their chores, and seek to maintain and improve the fabric of their house and chapel, and struggle with each other and with themselves. The book that emerges is a picture of a world run by women but also a story—stirring, disturbing, witty, utterly entrancing—of a community. What is the life of a community and how does it support, or constrain, a real humanity? How do we live through it and it through us? These are among the deep questions that lie behind this rare triumph of the novelist’s art.
In revolutionary Paris, a disaffected Victorian wife becomes enraptured by her husband’s mistress—a “brilliantly entertaining” historical fiction novel that was “far ahead of its time” (Guardian). “One of the great under-read British novelists of the 20th century . . . my favorite of her novels.” —Sarah Waters, author of Fingersmith Sophia Willoughby, a young Englishwoman from an aristocratic family and a person of strong opinions and even stronger will, has packed her cheating husband off to Paris. He can have his tawdry mistress. She intends to devote herself to the serious business of raising her two children in proper Tory fashion. Then tragedy strikes: the children die, and Sophia, in despair, finds her way to Paris, arriving just in time for the revolution of 1848. Before long she has formed the unlikeliest of close relations with Minna, her husband’s sometime mistress, whose dramatic recitations, based on her hair-raising childhood in czarist Russia, electrify audiences in drawing rooms and on the street alike. Minna, “magnanimous and unscrupulous, fickle, ardent, and interfering,” leads Sophia on a wild adventure through bohemian and revolutionary Paris, in a story that reaches an unforgettable conclusion amidst the bullets, bloodshed, and hope of the barricades. Sylvia Townsend Warner was one of the most original and inventive of twentieth-century English novelists. At once an adventure story, a love story, and a novel of ideas, Summer Will Show is a brilliant reimagining of the possibilities of historical fiction.
A second meaning to the word 'maggot' is 'a whimsical or perverse fantasy' and it is a maggot of this variety that takes the Reverand Timothy Fortune, ex-clerk of the Hornsey Branch of Lloyds Bank, to the remote South Sea island of Fanua as a missionary. This 'pious escapade' brings him the joy of being let loose into the world for the first time.
Very early in her career Sylvia Townsend Warner won recognition of a discerning group of writers and readers on both sides of rare imagination and originality increased with each new publication. In addition to publishing some twenty books she wrote thousands of letters, mainly to close friends and acquaintances, and these quite naturally provide a record of almost fifty years of the writer’s life. As the editor of the selection says, she had a connoisseur’s eye for the bogus and a hatred for assumptions of privilege – her heart was with the hunted, always, and her deep understanding of human behaviour makes the whole a remarkably compassionate volume. Her interests are wide-ranging, and we read of the pleasures of travel, Proust’s shortcomings as a literary critic, current politics, Rupert Brooke at the Café Royal, an eccentric moorhen, the Spanish Civil War. Above all, apart from their intrinsic interest and literary quality, Miss Warner’s letters reveal the special brand of wit and humour that pervades every word she writes.
After a decade in one South Seas mission, a London bank-clerk-turned-minister sets his heart on serving a remote volcanic island. Fanua contains neither cannibals nor Christians, but its citizens, his superior warns, are like children—immoral children. Still, Mr. Timothy Fortune lights out for Fanua. Yet after three years, he has made only one convert, and his devotion to the boy may prove more sensual than sacred.Mr. Fortune’s Maggot, Sylvia Townsend Warner’s second novel, is lyrical, droll, and deeply affecting, and her missionary captivated his creator as much as he did her readers. Long after the book's publication, Warner began the novellaThe Salutation. Now adrift and starving on the Brazilian pampas, Mr. Fortune is rescued by an elderly widow, who delights in having an Englishman about the house. Her heir, however, may beg to differ. Brilliant and subversive,Mr. Fortune's Maggotand its sequel are now available for the first time ever in one volume. They show Sylvia Townsend Warner at the height of her powers.
Sylvia Townsend Warner's final collection of short stories contains sixteen sly and enchanting stories of Elfindom.
In the course of her brilliant career Sylvia Townsend Warner wrote superbly in many and diverse forms but never penned a memoir, properly speaking. However, from the 1930s to the 1970s she did contribute a series of short reminiscences to the New Yorker. Scenes of Childhood collects and orders those reminiscences, thus forming a volume that reads as a joyous, wry and moving testament to the experience of being alive. The collection evokes a recognisably English world of nannies, butlers, pet podles, public schools, 'good works' and country churches, but the resonances of these stories are universal - funny and touching by turns.
Sylvia Townsend Warner created a self-portrait in the diaries she kept from 1927 until her death in 1978. In this selection, she writes of her friends and colleagues, her writing and music, her dog and cats, and her delight in gardens and housewifery. Above all, this is an account of a great love affair. Valentine Ackland came into the writer's life in 1931, bringing both sensual liberation and emotional anguish which was to last beyond death and evoke writing of power and honesty.