A luminous memoir of post-war childhood, adventure and loss on the banks of the Nile. ‘Wonderful – a brave, inventive, touching distillation of memory and imagination’ JENNY UGLOW

By one of the finest English writers of our time, a luminous memoir that travels from southern Italy to the banks of the Nile, capturing a lost past both personal and historical. Marina Warner’s father, Esmond, met her mother, Ilia, while serving as an officer in the British Army during the Second World War. As Allied forces fought their way north through Italy, Esmond found himself in the southern town of Bari, where Ilia had grown up, one of four girls of a widowed mother. The Englishman approaching middle age and the twenty-one-year-old Italian were soon married. Before the war had come to an end, Ilia was on her way alone to London to wait for her husband’s return and to learn how to be Mrs. Esmond Warner, an Englishwoman. Ilia begins to learn the world of cricket, riding, canned food, and distant relations she has landed in, while Esmond, in spite of his connections, struggles to support his wife and young daughter. He comes up with the idea of opening a bookshop, a branch of W.H. Smith’s, in Cairo, where he had spent happy times during the North African campaign. In Egypt, however, nationalists are challenging foreign influences, especially British ones, and before long Cairo is on fire. Deeply felt, closely observed, rich with strange lore, Esmond and Ilia is a picture of vanished worlds, a portrait of two people struggling to know each other and themselves, a daughter’s story of trying to come to terms with a past that is both hers and unknowable to her. It is an “unreliable memoir”—what memoir isn’t?—and a lasting work of literature, lyrical, sorrowful, shaped by love and wonder.

As a dutiful Victorian daughter, the author was thirty before being freed (by her parents' deaths) to do as she chose. She went to West Africa in 1893 and again in 1895, to investigate the beliefs and customs of the inland tribes and also to collect zoological specimens. She was appalled by the 'thin veneer of rubbishy white culture' imposed by British officials and was not afraid to say so.

A gorgeously illustrated co-publication with Christine Burgin by “one of the world’s great essayists” (The New York Times). With a guide to the illustrations by Mary Wellesley. Angels have soared through Western culture and consciousness from Biblical to contemporary times. But what do we really know about these celestial beings? Where do they come from, what are they made of, how do they communicate and perceive? The celebrated essayist Eliot Weinberger has mined and deconstructed, resurrected and distilled centuries of theology into an awe-inspiring exploration of the heavenly host. From a litany of angelic voices, Weinberger’s lyrical meditation then turns to the earthly counterparts, the saints, their lives retold in a series of vibrant and playful capsule biographies, followed by a glimpse of the afterlife. Threaded throughout Angels & Saints are the glorious illuminated grid poems by the eighteenth-century Benedictine monk Hrabanus Maurus. These astonishingly complex, proto-“concrete” poems are untangled in a lucid afterword by the medieval scholar and historian Mary Wellesley.

An anthology of compelling essays by Marina Warner, one of our pre-eminent writers and critics. Art-writing at its most useful should share the dynamism, fluidity and passions of the objects of its enquiry, argues Marina Warner. In this new anthology of some of her most compelling work, she captures the visual experience of the work of several artists - with a notable focus on the inner lives of women - through an exploration of the range of stories and symbols to which they allude. Metamorphosis features vividly in the imagery, stories and media of the art that Warner has chosen to write about: in connection with animals in the work of Louise Bourgeois, for instance; with the Catholicism of Damien Hirst; and with performance as a medium of memory and resistance in the installations of Joan Jonas. Rather than drawing on connoisseurship, the author's approach grows principally out of anthropology and mythology. She argues that art and aesthetics increasingly fulfil a magical social function - a principle that runs through these writings to give the collection a quality that is polemical as well as coherent. With an introductory essay and illustrations throughout, Marina Warner investigates how artists noted for their treatment of disturbing, uncanny material have reached beyond the visible, to express interior states. Truly inspiring, her writing unites the imagination of artist, writer and reader, creating a reading experience parallel to the intrinsic pleasure of looking at art.

From the Trojan Horse to Gulf War subterfuge, this far-reaching military history examines the importance and ingenuity of wartime deception campaigns. The art of military deception is as old as the art of war. This fascinating account of the practice draws on conflicts from around the world and across millennia. The examples stretch from the very beginnings of recorded military history—Pharaoh Ramses II's campaign against the Hittites in 1294 B.C.—to modern times, when technology has placed a stunning array of devices into the arsenals of military commanders. Military historians often underestimate the importance of deception in warfare. This book is the first to fully describe its value. Jon Latimer demonstrates how simple tricks have been devastatingly effective. He also explores how technology has increased the range and subtlety of what is possible—including bogus radio traffic, virtual images, even false smells. Deception in War includes examples from land, sea, and air to show how great commanders have always had, as Winston Churchill put it, that indispensable “element of legerdemain, an original and sinister touch, which leaves the enemy puzzled as well as beaten.”