A collection of over 100 Carols ranging from the traditional to the less well known.

“A lovely balance of memoir, travelogue and olive-growing how-to . . . Some of her adventures are quite funny.” —Publishers Weekly In this memoir, the author of The Olive Farm returns to the ten-acre property for which she and her fiancé scraped together their savings to buy—just back from their wedding on a tiny Polynesian island, loaded down with luggage and a large hand-painted didgeridoo. As Carol and Michel settle in as husband and wife, they experience the glamor of southern France at dinner parties in the company of aristocrats and at the world-renowned Cannes film festival, as well as the dirt-caked, sun-baked life of farmers—especially after their gardener heads to Algiers to arrange his youngest son’s wedding. For Carol, though, what matters most is that her longtime dream of motherhood finally promises to come true—and over the course of The Olive Season, she shares the story of her hopes and fears as she anticipates another kind of growth and nurturing. Alternately entertaining and emotionally poignant, this memoir is a rich portrait of love, longing, and the constant uncertainties of the cycle of life.

New York Times • Times Critics Top Books of 2021 The Times (of London) • Best Books of the Year Excerpted in The New Yorker Profiled in The Los Angeles Times Publishing for the centenary of her birth, Patricia Highsmith’s diaries “offer the most complete picture ever published” of the canonical author (New York Times). Relegated to the genre of mystery during her lifetime, Patricia Highsmith is now recognized as one of “our greatest modernist writers” (Gore Vidal). Beloved by fans who were unaware of the real psychological turmoil behind her prose, the famously secretive Highsmith refused to authorize a biography, instead sequestering herself in her Switzerland home in her final years. Posthumously, her devoted editor Anna von Planta discovered her diaries and notebooks in 1995, tucked in a closet—with tantalizing instructions to be read. For years thereafter, von Planta meticulously culled from over eight thousand pages to help reveal the inscrutable figure behind the legendary pen. Beginning with her junior year at Barnard in 1941, Highsmith ritualistically kept a diary and notebook—the former to catalog her day, the latter to brainstorm stories and hone her craft. This volume weaves diary and notebook simultaneously, exhibiting precisely how Highsmith’s personal affairs seeped into her fiction—and the sheer darkness of her own imagination. Charming yet teetering on the egotistical, young “Pat” lays bare her dizzying social life in 1940s Greenwich Village, barhopping with Judy Holliday and Jane Bowles, among others. Alongside Flannery O’Conner and Chester Himes, she attended—at the recommendation of Truman Capote—the Yaddo artist colony in 1948, where she drafted Strangers on a Train. Published in 1950 and soon adapted by Alfred Hitchcock, this debut novel brought recognition and brief financial security, but left a heartsick Highsmith agonizing: “What is the life I choose?” Providing extraordinary insights into gender and sexuality in mid-twentieth-century America, Highsmith’s diaries convey her euphoria writing The Price of Salt (1951). Yet her sophomore novel would have to be published under a pseudonym, so as not to tarnish her reputation. Indeed, no one could anticipate commercial reception for a novel depicting love between two women in the McCarthy era. Seeking relief from America, Highsmith catalogs her peripatetic years in Europe, subsisting on cigarettes and growing more bigoted and satirical with age. After a stay in Positano with a new lover, she reflects in her notebooks on being an expat, and gleefully conjures the unforgettable The Talented Mr. Ripley (1955); it would be this sociopathic antihero who would finally solidify her true fame. At once lovable, detestable, and mesmerizing, Highsmith put her turbulent life to paper for five decades, acutely aware there must be “a few usable things in literature.” A memoir as significant in our own century as Sylvia Plath’s journals and Simone de Beauvoir’s writings were to another time, Patricia Highsmith: Her Diaries and Notebooks is an historic work that chronicles a woman’s rise against the conventional tide to unparalleled literary prominence.

Why is there such intense interest today in the idea of 'Britishness'? Does it really matter, and what is 'Britishness' anyway? Why does the notion of 'being British' seem to have most resonance amongst recent immigrant - especially Asian and Afro-Caribbean - communities? And why is that 'traditional' British values now seem to be most widely practised and cherished by newcomers, not by the dominant majority? This book answers these vital questions by making a unique contribution to the current debate about British identity. It investigates why Liverpool is the most British of UK cities, with a regional accent representing a medley of Welsh, Scots, Irish and English; how a small village off the M6 motorway is arguably Britain's spiritual heart; and what theme parks, airport shops and eating habits have to tell us about the contemporary national character. It is often claimed that Great Britain is one of the most secular nations on earth. But - controversially - Ian Bradley argues that Britishness is best envisaged as a series of overlapping identities which are at root religious. He views the 400 year-old Union Jack, with its overlaid crosses of three of the nation's four patron saints, as symbolising the United Kingdom's unparalleled combination of unity in diversity, the diversity of a society which now embodies Muslim, Jewish, Hindu, Buddhist and many other - including secular - traditions. He goes on to argue that 'Britishness' has special value as a broad church measure of spiritual and cultural inclusiveness - and as a positive alternative to fundamentalism, narrow nationalism and jingoism. The author explores in separate chapters the distinctive contributions to Britishness made over the centuries by the Celtic traditions of the Welsh and Irish, the Anglo-Saxon strain of tolerance and freedom associated with the English, the moral seriousness of the Scots, and the characteristics of exuberance, modesty and privacy introduced by new black and Asian Britons. Published to coincide with the three hundredth anniversary of the 1707 Act of Union, his book offers a number of radical proposals. These include re-designing the Union flag to incorporate a black cross on a gold background, to better reflect the hybridity of contemporary Britain, and replacing George, Andrew and Patrick with a new trinity of patron saints - Columba, Bridget and Edward the Confessor. Ian Bradley contends that a rejuvenated BBC, monarchy and Commonwealth all have a part to play in forging a new sense of British identity which combines myth, imagination and tradition with a broad, open-minded inclusivity and respect for difference. Believing in Britain makes a consistently thoughtful and challenging contribution to one of the most important discussions of our time.

Arthur Sullivan is best known as W. S. Gilbert's collaborator in the Savoy Operas, However, Sullivan was far from being simply a composer of light operettas. At the height of his fame and popularity in late Victorian Britain, Sullivan was regarded as the nation's leading composer of sacred oratorios on a par with Mendelssohn and Brahms. Yet despite his contemporary popularity and enduring legacy, little attention has been given to Sullivan's sacred work. The last twenty years have seen a considerable revival of interest in and critical appreciation for this aspect of Sullivan's work. Lost Chords and Christian Soldiers provides the first detailed, comprehensive, critical study and review of Sullivan's church and sacred music. As well as exploring issues of repertoire and ecclesiology involved in these and other formative influences and experiences, consideration will be given to how far Sullivan's own personal beliefs and faith influenced his settings of sacred texts and the extent to which his own spiritual and theological leaning are expressed in his choice of material and style of setting. Sullivan's motivation in setting religious texts will be probed and comparison will be made with the motivation, output and approach of his closest contemporaries in this field, most notably Stainer.

Readers of the 'brilliant Telegraph Letters page', as Ian Hislop recently lauded it, will be fondly aware of the eclectic combination of learned wisdom, wistful nostalgia and robust good sense that characterise its correspondence. But what of the 95 per cent of the paper's huge postbag which never sees the light of day? Some of the best letters inevitably arrive too late for the 24/7 news cycle, or don't quite fit with the rest of the day's selection. Others are just a little too whimsical, or indeed too risque, to publish in a serious newspaper. And more than a few are completely and utterly (and wonderfully) mad, such as the missives you'll find within these pages from someone who signs himself merely as "M", and believes himself to be the head of MI6. Now, the Telegraph gives the authors of these unpublished letters the stage at last. Baffled, furious, defiant, mischievous, they inveigh and speculate on every subject under the sun, from the rubbish on television these days to the venality of our MPs, from Kate Winslet's decolletage to this country's unhealthy obsession with marmalade. All those Telegraph readers who wondered if anyone else had noticed that the lunatics had finally taken over the asylum and sat down to write to their favourite newspaper to test the waters - they need howl into the void no longer. They are not alone.

Water has long been associated with the magical, the mysterious and the divine. From sacred springs to holy wells, and from hydropathic cures and temperance reform to the modern spa, Ian Bradley explores how water's creative, health-giving and restorative powers have been conceived, worshipped and marketed in an essentially spiritual way. In pre-Christian times, springs and rivers were seen as the dwelling places of deities with magical life-giving and curative powers, associated especially with the feminine and with ritual cleansing and rebirth. With the coming of Christianity, water was incorporated into Christian ritual and tradition through baptism and the cult of holy wells. From the 16th century onwards, the benefits of water came to be seen more in terms of therapeutic healing than the miraculous. Through the development of drinking and bathing cures, spas and hydrotherapy, a more scientific but still essentially spiritual understanding of the curative properties of water was developed. By the eighteenth century, spas and watering places had acquired their own enchanted and mysterious qualities, in many ways taking the place of medieval pilgrim shrines. Now, a new, more hedonistic kind of pilgrim comes to modern spas to experience a potent post-modern elixir of self-oriented well-being.