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Somewhere Towards the End
An esteemed memoirist and one of the great editors in British publishing examines aging with the grace of Elegy for Iris and the wry irreverence of I Feel Bad About My Neck.
Life Class
In a celebration of her life and writing, this collection brings together four of Diana Athill's best-loved memoirs, spanning her very English childhood, her life and loves during World War II, her publishing career at Andre Deutsch, and her reflections on old age."
Stet
A New York Times Notable Book: This memoir of a career in book publishing “should please anyone who cares about twentieth-century literature” (The Washington Post Book World). For nearly five decades, Diana Athill edited (nursed, coerced, coaxed) some of the most celebrated writers in the English language, among them V. S. Naipaul, Philip Roth, John Updike, Jean Rhys, Mordecai Richler, Molly Keane, and Norman Mailer. A founding editor of the prestigious publishing house André Deutsch Ltd., Athill takes us on a guided tour through the corridors of literary London, offering a keenly observed, devilishly funny, and always compassionate insider’s portrait of the glories and pitfalls of ma...
Alive, Alive Oh!
“Enchanting . . . Diana Athill, 98, still has a few things to teach us about growing old with dignity and humor and grace . . . Astute and sparkling.”—Associated Press Several years ago, Diana Athill accepted that she could no longer live entirely independently, and moved to a retirement home in Highgate. Released from the daily anxieties of caring for her own property and free to settle into her remaining years, she reflects on what it feels like to be very old, and on the moments in her long life that have risen to the surface and which sustain her in these last years. What really matters in the end? Which memories stand out? As she approaches her 100th year, Athill recalls in sparkl...
Yesterday Morning: A Very English Childhood
A remarkable, truthful and vivid recollection of childhood, from the author of Stet, After a Funeral, Don't Look at Me Like That and Instead of a Letter. Here Athill goes back to the beginning in a sharp evocation of a childhood unfashionably filled with happiness - a Norfolk country house, servants, the pleasures of horses, the unfolding secrets of adults and sex. This is England in the 1920s seen (with a clear and unsentimental eye) from the vantage point of England in 2001. It was a privileged and loving life: but did it equip the author to be happy?
Don't Look at Me Like that
In 1950s England, well-brought-up young women are meant to aspire to the respectable life. Some things are not to be spoken of; some are most certainly not to be done. There are rules, conventions. Meg Bailey obeys them. She progresses from Home Counties school to un-Bohemian art college with few outward signs of passion or frustration. Her personality is submerged in polite routines; even with her best friend, Roxane, what can't be said looms far larger than what can. But circumstances change. Meg gets a job and moves to London. Roxane gets married to a man picked out by her mother. And then Meg does something shocking - shocking not only by the standards of her time, but by our own. As sharp and startling now as when it was written, Don't Look at Me Like That matches Diana Athill's memoirs After a Funeral and Instead of a Letter in its gift for storytelling and its unflinching candour about love and betrayal.
Midsummer Night in the Workhouse
A collection of stories originally published in the 1950s through the 1970s focuses on the sexual experiences of women.
Instead of a Letter
Diana Athill's childhood in the Norfolk countryside was blissful. In 1932, aged 15, she fell passionately in love with a young undergraduate. She went up to Oxford and was engaged to be married. Then everything fell apart in the cruellest possible way.
After the Funeral
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Make Believe: A True Story
In Make Believe, Diana Athill, acclaimed author of Instead of a Letter and Stet, remembers her turbulent friendship with Hakim Jamal, a young black convert to the teachings of Malcolm X, whom she met in London in the late 1960s. Despite a desperately troubled youth, he became an eloquent spokesman for the black underclass, was Jean Seberg's lover and published a book about Malcolm X, before descending into a mania that had him believing he was God. A witness to his struggles, Diana Athill writes with her characteristic honesty about her entanglement with Jamal, Jamal's relationship with the daughter of a British MP, Gail Benson, and Jamal's, and separately Gail's, eventual murders.
