Recommendations based on "Don’t Look Back in Ongar The final book in the acclaimed bestselling Irish satire series"

A new collection from David Sedaris is cause for jubilation. His recent move to Paris has inspired hilarious pieces, including Me Talk Pretty One Day, about his attempts to learn French. His family is another inspiration. You Cant Kill the Rooster is a portrait of his brother who talks incessant hip-hop slang to his bewildered father. And no one hones a finer fury in response to such modern annoyances as restaurant meals presented in ludicrous towers and cashiers with 6-inch fingernails. Compared by The New Yorker to Twain and Hawthorne, Sedaris has become one of our best-loved authors. Sedaris is an amazing reader whose appearances draw hundreds, and his performancesincluding a jaw-dropping impression of Billie Holiday singing I wish I were an Oscar Meyer weinerare unforgettable. Sedariss essays on living in Paris are some of the funniest hes ever written. At last, someone even meaner than the French! The sort of blithely sophisticated, loopy humour that might have resulted if Dorothy Parker and James Thurber had had a love child. Entertainment Weekly on Barrel Fever Sidesplitting Not one of the essays in this new collection failed to crack me up; frequently I was helpless. The New York Times Book Review on Naked

This is the life and times of T. S. Garp, the bastard son of Jenny Fields—a feminist leader ahead of her times. This is the life and death of a famous mother and her almost-famous son; theirs is a world of sexual extremes—even of sexual assassinations. It is a novel rich with "lunacy and sorrow"; yet the dark, violent events of the story do not undermine a comedy both ribald and robust. In more than thirty languages, in more than forty countries—with more than ten million copies in print—this novel provides almost cheerful, even hilarious evidence of its famous last line: "In the world according to Garp, we are all terminal cases."

The hilarious 1980s political satire by Jonathan Coe, published as a Penguin Essential for the first time.It is the 1980s and the Winshaw family are getting richer and crueller by the year:Newspaper-columnist Hilary gets thousands for telling it like it isn't; Henry's turning hospitals into car parks; Roddy's selling art in return for sex; down on the farm Dorothy's squeezing every last pound from her livestock; Thomas is making a killing on the stock exchange; and Mark is selling arms to dictators.But once their hapless biographer Michael Owen starts investigating the family's trail of greed, corruption and immoral doings, the time growing ripe for the Winshaws to receive their comeuppance. . .This wickedly funny take on life under the Thatcher government was the winner of the 1995 John Llewellyn Rhys Prize'A sustained feat of humour, suspense and polemic, full of twists and ironies' Hilary Mantel, Sunday Times'A riveting social satire on the chattering and all-powerful upper classes' Time Out'Big, hilarious, intricate, furious, moving' Guardian

Adrian Mole faces the same agonies which life sets before most adolescents: troubles with girls, school, parents, and an uncaring world. The difference, though, between young Master Mole and his peers is that this British lad keeps a diary -- an earnest chronicle of longing and disaster that has convulsed more than five million readers since its two-volume initial publication. From teenaged Adrian's obsession with intellectuality after understanding "nearly every word" of a Malcolm Muggeridge broadcast to his anguished adoration of a lovely, mercurial schoolmate, from his view of his parents' constantly creaking relationship to his heartfelt but hilarious attempts at cathartic verse, here is an outrageous triumph of deadpan, and deadly accurate, satire. ABBA, Princess Di's wedding, street punks. Monty Python, the Falklands campaign -- all the cultural pageantry of a keenly observed era marches past the unique perspective of Sue Townsend's brilliant comic creation: A. Mole, the unforgettable lad whose self-absorption only gets funnier as his life becomes more desperate.Adrian Mole faces the same agonies which life sets before most adolescents: troubles with girls, school, parents, and an uncaring world. The difference, though, between young Master Mole and his peers is that this British lad keeps a diary--an earnest chronicle of longing and disaster that has convulsed more than five million readers since its two-volume initial publication. From teenaged Adrian's obsession with intellectuality after understanding "nearly every word" of a Malcolm Muggeridge broadcast to his anguished adoration of a lovely, mercurial schoolmate, from his view of his parents' constantly creaking relationship to his heartfelt but hilarious attempts at cathartic verse, here is an outrageous triumph of deadpan, and deadly accurate, satire. ABBA, Princess Di's wedding, street punks, Monty Python, the Falklands campaign--all the cultural pageantry of a keenly observed era marches past the unique perspective of Sue Townsend's brilliant comic creation: A. Mole, the unforgettable lad whose self-absorption only gets funnier as his life becomes more desperate.

A one-volume edition of the celebrated trio of novels about the Rabbitte family, from the Booker Prize-winning author of Paddy Clarke Ha Ha HaLook for Roddy Doyle’s new novel, Smile, coming in October of 2017The Barrytown Trilogy gathers Roddy’s Doyle’s first three novels into one volume: The Commitments, one of the funniest rock’n’roll novels ever written, about a group of aspiring musicians on a mission to bring soul to Dublin; The Snapper, about the progression of twenty-year-old Sharon Rabbitte’s pregnancy on her family; and The Van, a finalist for the Booker Prize, a tender and hilarious tale of male friendship, midlife crisis, and family life, set during the heady days of Ireland’s brief, euphoric triumphs in the 1990 World Cup.

The Mennyms are a family of life sized rag dolls who live in a modest British town. Their forty year long secret threatens to be exposed when a distant relative of their landlord visits from Australia. "Good old-fashioned fantasy at its finest."-Publishers Weekly

Maurice, James Ivory's 1987 adaptation of the E.M. Forster novel, follows an Edwardian man's journey from the awakening of his desire for and love of men to self-acceptance. One of the most politically resistant films of the 1980s, Maurice dared to depict a young man's coming-out story and a happy ending for its lovers, Maurice and Alec. James Ivory and producer Ismail Merchant, a couple whose cinema is synonymous with period film adaptation, released Maurice during the first AIDS decade, a time of flagrant transatlantic homophobia. Criticism following its release described Ivory as a superficial and staid director, while the film was received as a regression to the uncinematic and overly faithful style that characterized the early adaptations by Merchant Ivory Productions. Offering a close reading of Forster's novel and an analysis of Ivory's distinctive visual style, Richard Robbins's indelible score, and the performances of James Wilby, Hugh Grant, and Rupert Graves, David Greven argues that the film is a model of sympathetic adaptation. This study champions the film as the finest of the Merchant Ivory works, making a case for Ivory's underappreciated talents as a director of great subtlety and intelligence, and for the film as one worth recuperating from its detractors. Understanding Maurice as a fully realized work of art and adaptation, this volume offers insight into how a stunning novel of gay love became a classic of queer film.

The James Bond epic is the most popular film series in silver screen history: it is estimated that a quarter of the world's population has seen a Bond feature. The saga of Britain's best-loved martini hound (who we all know prefers his favorite drink "shaken, not stirred") has adapted to changing times for four decades without ever abandoning its tried-and-true formula of diabolical international conspiracy, sexual intrigue, and incredible gadgetry.James Chapman expertly traces the annals of celluloid Bond from its inauguration with 1962's Dr. No through its progression beyond Ian Fleming's spy novels to the action-adventure spectaculars of GoldenEye and Tomorrow Never Dies. He argues that the enormous popularity of the series represents more than just the sum total of the films' box-office receipts and involves questions of film culture in a wider sense. Licence to Thrill chronicles how Bond, a representative of a British Empire that no longer existed in his generation, became a symbol of his nation's might in a Cold War world where Britain was no longer a primary actor. Chapman describes the protean nature of Bond villains in a volatile global political scene -- from Soviet scoundrels and Chinese rogues in the 1960s to a brief flirtation with Latin American drug kingpins in the 1980s and back to the Chinese in the 1990s. The book explores how the movies struggle with changing societal ethics -- notably, in the evolution in the portrayal of women, showing how Bond's encounters with the opposite sex have evolved into trysts with leading ladies as sexually liberated as Bond himself.The Bond formula has proved remarkably durable and consistently successful for roughly a third of cinema's history -- half the period since the introduction of talking pictures in the late 1920s. Moreover, Licence to Thrill argues that, for the foreseeable future, the James Bond films are likely to go on being what they have always been, a unique and very special kind of popular cinema.

Starting in 1902 at a country school that had an enrollment of fourteen, Frank Boyden built an academy that has long since taken its place on a level with Andover and Exeter. Boyden, who died in 1972, was the school's headmaster for sixty-six years. John McPhee portrays a remarkable man "at the near end of a skein of magnanimous despots who...created enduring schools through their own individual energies, maintained them under their own absolute rule, and left them forever imprinted with their own personalities." More than simply a portrait of the Headmaster of Deerfield Academy, it is a revealing look at the nature of private school education in America.

Take a trip to the country with Gervase Phinn's heartwarming tales of life as a school inspector in Yorkshire 'Gervase Phinn's memoirs have made him a hero in school staff-rooms' Daily Telegraph _______ As the newly appointed County Inspector of Schools in North Yorkshire, Gervase Phinn reveals in this warm and wonderfully humorous account, the experiences of his first year in the job - and what an education it was! He quickly learns that he must slow his pace and appreciate the beautiful countryside - 'Are tha'comin' in then, mester, or are tha' stoppin' out theer all day admirin' t'view?' He encounters some larger-than-life characters, from farmers and lords of the manor to teaching nuns and eccentric caretakers. And, best of all, he discovers the delightful and enchanting qualities of the Dales children, including the small boy, who, when told he's not very talkative, answers: 'If I've got owt to say I says it, and if I've got owt to ask I asks it.' With his keen ear for the absurd and sharp eye for the ludicrous, Gervase Phinn's stories in The Other Side of the Dale will not fail to make you weep with laughter.