Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

The Underpainter is a novel of interwoven lives in which the world of art collides with the realm of human emotion. It is the story of Austin Fraser, an American painter now in his later years, who is haunted by memories of those whose lives most deeply touched his own, including a young Canadian soldier and china painter and the beautiful model who becomes Austin’s mistress. Spanning decades, the setting moves from upstate New York to the northern shores of two Great Lakes; from France in World War One to New York City in the ’20s and ’30s. Brilliantly depicting landscape and the geography of the imagination, The Underpainter is Jane Urquhart’s most accomplished novel to date.

Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.