“This is one of the most enjoyable of his many enjoyable novels” –The Scotsman It is 1938 and the final days of the British Empire. In a bungalow high up in the green hills above the plains of Ceylon, under a vast blue sky, live the Ferguson family: Bella, a precocious eight-year-old; her father, Henry, owner of a tea plantation; and her mother, Virginia, a woman out of step in her community. The story centers around their home, affectionately called “The Pavilion in the Clouds,” set in the idyllic grounds carved out of the wilderness. But all is not as serene as it seems. Bella is suspicious of the intentions of her governess, Miss White. Her suspicion ignites her mother’s imagination, causing an unfortunate series of eventsthat reverberate throughout the years.

Their names bespeak a rich past. From the Norse Hjaltland comes the modern Shetland: islands nominally Scottish, steeped in Nordic culture, closer to the Arctic Circle than to London. Important Neolithic sites are at Skara Brae and Maes Howe in the Orkneys. Holy Iona, island center of Celtic Christianity, the Isle of Man, former seat of rule over the Irish Sea, and Anglesey and Islay, homes of medieval courts at Aberffraw and Loch Finlaggan, are just a few of the more than 6,000 islands that form the archipelago known as the British Isles. The offshore isles are home to half a million people. Focusing on the eight islands or chains that have long supported substantial populations, this history tells the stories of Shetland, Orkney, the Hebrides, Anglesey, the Channel Islands, the Scilly Isles, and the Isles of Man and Wight, from their Neolithic settlement, to Roman, Norse and Norman occupation, to the struggle to maintain their uniqueness in today's world. Instructors considering this book for use in a course may request an examination copy here.

Brutal and violent, this tell-all is a personal account of the life of Razor Smith and the world in which he lived, where ruthlessness, viciousness, and savagery are prized and admired. In prison more than half of his life for assaults and armed robberies, Smith became confined in a peculiar kind of hell from which his only route of escape was to master the art of writing. His book shows us a face of crime not often encountered in run-of-the-mill true-crime books: a face as tender and intimate as a lover's, yet as frightening as a killer's. Powerfully written from beginning to end, this is an extraordinarily vivid account of how a kid from South London became a career criminal, a blistering indictment of a system that brutalized young offenders, and an unsentimental acknowledgment of the adrenaline-fueled thrills of the criminal life. Shocking, fascinating, and horrifying, it also reveals Smith as one of the most talented writers of his generation.

Michael Klinger was the most successful indpendent producer in the British film industry over a 20 year period from 1960 to 1980, responsible for 32 films, including classics such as Repulsion (1965) and Get Carter (1971). Despite working with many famous figures- including actors Michael Caine, Peter Finch, Lee Marvin, Roger Moore, Mickey Rooney and Susannah York; directors Claude Chabrol,Mike Hodges and Roman Polanski and author Wilbur Smith- Klinger's contribution to British cinema has been almost largely ignored. This definitive book on Micheal Klinger, largely based on his previously unseen personal papers, examines his origins in Sixties Soho 'sexploitation' cinema and 'shockumentaries' through to major international productions including Gold (1974) and Shout at the Devil (1976). It reveals how Klinger deftly combined commercial product-the hugely popular 'Confessions' series (1974-78)- with artistic, experimental cinema that nurtured young talent, including Polanski and Hodges, Peter Colinson, Alastair Reid, Linda Hayden and Moshe Mizrahi, the Israeli director of Rachel's Man (1975). Klinger's career is contextualised through a reassessment of the British film industry during a period of unprecedented change and volatility as well as highlighting the importance of his Jewishness. The Man Who Got Carter offers a detailed analysis of the essential but often misunderstood role played by the producer.