Recommendations based on "The Complete Hitchhiker's Guide to the Galaxy Boxset: Guide to the Galaxy / The Restaurant at the End of the Universe / Life, the Universe and ... and Thanks for all the Fish / Mostly Harmless"

Once more I am beyond the Valley of the Confused and treading lightly in the Universe of the Huge Red Bottom. What is the matter with me? I love the Sex God and he is my one and only, but try telling that to my lips. Georgia has finally put her red-bottomosity to rest and chosen Robbie the Sex God over Dave the Laugh. After all, with the Sex God she'll be a pop-star girlfriend and go on tour! Besides, Dave the Laugh is now dating her friend Ellen (although that didn't stop Georgia from snogging him at a party ... ). But when the Sex God is never around and Dave the Laugh breaks up with Ellen, Georgia doesn't know what to think! Is she doomed to be a pop-star widow, or will she take her own bottom firmly in hand and blow her cosmic horn? And will her cat, Angus (the size of a small Labrador, only mad), ever get over the shame of having his trouser snake addendums snipped? As always, in Georgia's life, nothing ever turns out as planned!

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."

Manorism is a poetic examination of the lives of Black British men and boys: propped up and hemmed in by contemporary masculinity, deepened by family, misrepresented in the media, and complicated by the riches, and the costs, of belonging and inheritance. It is also an exploration of the differences of impunity afforded to white and Black people, and to white and Black artists.Caravaggio - originally, unexpectedly - looms large: as a man who moved between spheres of exalted patronage and petty criminality; as a painter who, amid the elegant conventions of late Mannerism, forged his own style of visceral dark and light; and as an individual whose recognized genius was allowed to legitimate and excuse his violence.In this profound and moving debut, Yomi Sode asks: what does it mean to find oneself between worlds - to 'code-switch', adapting one's speech and manners to widely differing cultural contexts? Who is, and who isn't, allowed to be more than their origins? And what do we owe each other? What do we owe ourselves?

Poignant, funny, and utterly original, Ethel & Ernest is Raymond Briggs's loving depiction of his parents' lives from their chance first encounter in the 1920s until their deaths in the 1970s.Ethel and Ernest were solid members of the English working class, part of the generation that lived through the most tumultuous years of the twentieth century. They met during the Depression--she working as a maid, he as a milkman--and we follow them as they court and marry, make a home, raise their son, and cope with the dark days of World War II. Briggs's portrayal of how his parents succeeded, or failed, in coming to terms with the events of their rapidly shifting world--the advent of radio, television, and telephones; the development of the atomic bomb; the moon landing; the social and political turmoil of the sixties--is irresistibly engaging, full of sympathy and affection, yet clear-eyed and unsentimental.Briggs's illustrations are small masterpieces; coupled with the wonderfully candid dialogue, they evoke the exhilaration and sorrow, excitement and bewilderment, of experiencing such enormous changes. As much a social history as a personal account, Ethel & Ernest is a moving tribute to ordinary people living in an extraordinary time.

'brilliant. A Citizen Kane Of A Novel' Daily Telegraph __________________________________ Meet John James Todd: Scotsman, Auteur, Rousseau-fanatic - And 'subversive Element' Born In 1899, John James Todd Is One Of The Great, Failed Geniuses Of The Last Century. His Reminiscences, Collected In The New Confessions, Take Us From Edinburgh To The Western Front, The Berlin Film-world In The Twenties To Hollywood In The Thirties, Forties And Beyond. Suffering Imprisonment, Shooting, Marriage, Fatherhood, Divorce And Mccarthyism, Todd Is A Hostage To Good Fortune, Ill-judgement, Bad Luck, The Vast Sweep Of History And The Cruel, Cruel Hand Of Fate . . . __________________________________ 'a Magnificent Feat Of Storytelling And Panoramic Reconstruction' Observer 'paced And Plotted With Sinewy, Unfailing Skill . . . Boyd Has Given Us A Work Of Rich, Ripe And Immensely Enjoyable Entertainment' Sunday Times 'simply The Best Realistic Storyteller Of His Generation' Independent

This issue of Granta was inspired by the original campaign for the Best Young British Novelists. This book includes the writing from the 20 writers judged in 1983.

Sam Bagshott, son of the late Boko Bagshott, had been at Blandings Castle only a short while, but long enough to know that anyone enjoying its hospitality must get the occasional shock. Sam braced himself as the possibilities flitted through his mind. The house was on fire? The Empress of Blandings had taken to the bottle again? Constable Evans had arrived with a search warrant? There was a wide area of speculation, and he was prepared for bad news in any form. In any form, that is to say, except the one in which it came.

“Kennedy's justly acclaimed Albany Cycle [is] one of the imperishable products of American literature since the Second World War. These books can be read singly or in sequence, but read they must be. Kennedy is one of our necessary writers.”—GQ  Legs inaugurated William Kennedy’s celebrated cycle of novels set in Albany, New York. True to both life and myth. Legs evokes the flamboyant career of the legendary gangster Jack “Legs” Diamond, who was finally murdered in Albany, and his showgirl mistress as they blaze a trail across the tabloid pages of the 1920s and 1930s.   The second novel in the Albany cycle depicts Billy Phelan, a slightly tarnished poker player, pool hustler, and small-time bookie, as he moves through the lurid nighttime glare of a tough Depression-era town. Full of Irish pluck, he works the fringes of Albany sporting life with his own particular style—until he falls from underworld grace.   In the Pulitzer Prize-winning novel, Ironweed, Francis Phelan, ex-ballplayer, part-time gravedigger, and full-time drunk, has hit bottom. Years ago he left Albany after killing a scab during a workers’ strike, and again after he accidentally—and fatally—dropped his infant son. Now, in 1938, Francis is back, roaming familiar streets and trying to make peace with ghosts of the past and present.William Kennedy’s Albany Cycle of novels reflect what he once described as the fusion of his imagination with a single place. A native and longtime resident of Albany, New York, his work moves from the mid-nineteenth to the mid-twentieth century, chronicling family life, the city’s netherworld, and its spheres of power—financial, ethnic, political—often among the Irish-Americans who dominated the city in this period. The novels in his cycle include, Legs, Billy Phelan’s Greatest Game, Ironweed, Quinn’s Book, Very Old Bones, The Flaming Corsage, and Roscoe.

The Pet Shop Boys are one of the most successful pop groups of the 1980's. They are frequently seen as obsessively reserved and secretive. "Pet Shops Boys Literally", written with their co-operation, shadows them around Hong Kong, Japan and Britain on their 1989 tour, showing two pop stars in unusally intimate detail as they work, relax, gossip, argue and, every now and then, try to make sense of what they do. "Pet Shops Boys Literally" describes the inspirations, the rows, the frustrations, the confrontations with obsessive fans and the earning and expenditure of vast sums of money. In this book Chris Heath presents more than the document of a tour. He traces the Pet Shop Boys' wider history and tells the extraordinary story of what it is to be a pop star today.

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.