English novelist, short-story writer, playwright and journalist, Graham Greene was one of the most widely read novelist of the 20th-century, a superb storyteller. Adventure and suspense are constant elements in his novels and many of his books have been made into successful films. Although Greene was nominated several times as a candidate for the Nobel Prize for Literature, he never received the award. Graham Greene is a descriptive catalog of first editions of works by Greene, which are currently held in the collection of the University of Louisville. Arranged chronologically by title, Robert H. Miller, also includes letters, radio scripts, pamphlets, and subsequent editions of importance and scarcity.

Before his family leaves the grocery store, Baby Edwin makes sure their grocery cart contains the last ingredient needed to make his birthday celebration complete.

The British author shares the “strange . . . inner layers of his playful, guilty imagination” in this glimpse into a brilliant novelist’s subconscious (The New York Times). Culled from nearly eight hundred pages of the author’s “dream diaries” kept between 1965 and 1989, this singular journal reveals “the feverish inner life of an intensely private man, providing an uncanny mirror-image of [his] novelistic obsessions, insecurities, and moral preoccupations” (Publishers Weekly). In what Greene calls My Own World—as opposed to the Common World of shared reality—he accompanies Henry James on a disagreeable riverboat trip to Bogota, is caught in a guerilla crossfire with Evelyn Waugh and W. H. Auden, strolls in the Vatican garden with Pope John Paul II who’s doling out Perugina chocolates like hosts, offers refuge to a suicidal Charlie Chaplin, and stages a disastrous play in blank verse for Elizabeth Taylor and Richard Burton. He also shares his headspace with Goebbels, Castro, Cocteau, Queen Elizabeth, D. H. Lawrence, and talking kittens. And the landscape is just as wide: from Nazi Germany to Haiti to West Africa to Bethlehem 1 AD and to Sweden where he seeks treatment for leprosy. Greene is a criminal, spy, lover, assassin, witness, and writer. Encompassing life, death, war, feuds, and career, and alternately absurdist, frightening, funny, and revealing, these fertile imaginings—many of which found their way into Greene’s fiction—comprise nothing less than “an alternate autobiography . . . a uniquely candid self-portrait” of one of the giants of English literature (Kirkus Reviews).

In this significant rereading of Graham Greene's writing career, Michael Brennan explores the impact of major issues of Catholic faith and doubt on his work, particularly in relation to his portrayal of secular love and physical desire, and examines the religious and secular issues and plots involving trust, betrayal, love and despair. Although Greene's female characters have often been underestimated, Brennan argues that while sometimes abstract, symbolic and two-dimensional, these figures often prove central to an understanding of the moral, personal and spiritual dilemmas of his male characters. Finally, he reveals how Greene was one of the most generically ambitious writers of the twentieth century, experimenting with established forms but also believing that the career of a successful novelist should incorporate a great diversity of other categories of writing. Offering a new and original perspective on the reading of Greene's literary works and their importance to English twentieth-century fiction, this will be of interest to anyone studying Greene.

A new title in Palgrave Macmillan's Literary Lives series, this is a biographical narrative of Graham Greene's literary career. Among other things, it explores his motives for writing; the literary and cinematic influences that shaped his work; his writing routine and the importance of his childhood experience. Greene was elusive and enigmatic, and this book teases out the fiction from his autobiographies, the autobiography from his fictions, sharing Paul Theroux's view that you may not know Greene from his face or speech 'but from his writing, you know everything.'