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Middlemarch
In Middlemarch, George Eliot draws a character passionately absorbed by abstruse allusion and obscure epigraphs. Casaubon’s obsession is a cautionary tale, but Adam Roberts nonetheless sees in him an invitation to take Eliot’s use of epigraphy and allusion seriously, and this book is an attempt to do just that. Roberts considers the epigraph as a mirror that refracts the meaning of a text, and that thus carries important resonances for the way Eliot’s novels generate their meanings. In this lively and provoking study, he tracks down those allusions and quotations that have hitherto gone unidentified by scholars, examining their relationship to the text in which they sit to unfurl a broader argument about the novel – both this novel, and the novel form itself. Middlemarch: Epigraphs and Mirrors is both a study of George Eliot and a meditation on the textuality of fiction. It is essential reading for specialists and students of George Eliot, the nineteenth century novel, and intertextuality. It will also richly reward anyone who has ever taken pleasure in Middlemarch.
The This
The This is the new social media platform everyone is talking about. Allow it to be injected into the roof of your mouth and it will grow into your brain, allow you to connect with others without even picking up your phone. Its followers are growing. Its detractors say it is a cult. But for one journalist, hired to do a puff-piece interview with their CEO, it will change the world forever. Adan just wants to stay at home with his smart-companion Elegy - phone, friend, confidante, sex toy. But when his mother flees to Europe and joins a cult, leaving him penniless, he has to enlist in the army. Sentient robots are invading America, but it seems Adan has a surprising ability to survive their attacks. He has a purpose, even if he doesn't know what it is. And in the far future, war between a hivemind of Ais and the remnants of humanity is coming to its inevitable end. But one woman has developed a weapon which might change the course of the war. It's just a pity she's trapped in an inescapable prison on a hivemind ship.
Tool Steels
None
The History of Science Fiction
The History of Science Fiction traces the origin and development of science fiction from Ancient Greece up to the present day. The author is both an academic literary critic and acclaimed creative writer of the genre. Written in lively, accessible prose it is specifically designed to bridge the worlds of academic criticism and SF fandom.
Jack Glass
WINNER OF THE BSFA AWARD FOR BEST NOVEL Jack Glass is the murderer. We know this from the start. Yet as this extraordinary novel tells the story of three murders committed by Glass the reader will be surprised to find out that it was Glass who was the killer and how he did it. And by the end of the book our sympathies for the killer are fully engaged. Riffing on the tropes of crime fiction (the country house murder, the locked room mystery) and imbued with the feel of golden age SF, JACK GLASS is another bravura performance from Roberts. Whatever games he plays with the genre, whatever questions he asks of the reader, Roberts never loses sight of the need to entertain and JACK GLASS has some wonderfully gruesome moments, is built around three gripping HowDunnits and comes with liberal doses of sly humour. Roberts invites us to have fun and tricks us into thinking about both crime and SF via a beautifully structured novel set in a society whose depiction challanges notions of crime, punishment, power and freedom. It is an extraordinary novel.
The Sellamillion
THE SELLAMILLION is NOT a parody of Tolkien's THE SILMARILLION. That would be pointless because although all Tolkien fans have a copy, only three of them have read past page 40. It is, however, a parody of all that Tolkien created as he worked on LORD OF THE RINGS. The history of the elderly days. Early missing drafts of LORD OF THE RINGS. A correspondence between the author and publisher on whether it should be a Bellybutton Stud of Doom rather than a Ring of Power. An experimental version of LOTR as if written by Dr Seuss. That sort of thing. It'll be funny. Possibly hilarious. The author's told us it will be. Promised even. And he did write THE SODDIT. And that was quite funny.
George III
The Times Book of the Year *Winner of the Elizabeth Longford Prize for Historical Biography, 2022* *Winner of the General Society of Colonial Wars' Distinguished Book Award, 2021* *Winner of the History Reclaimed Book of the Year, 2022* *Shortlisted for the Duff Cooper Prize, 2021* Andrew Roberts, one of Britain's premier historians, overturns the received wisdom on George III George III, Britain's longest-reigning king, has gone down in history as 'the cruellest tyrant of this age' (Thomas Paine, eighteenth century), 'a sovereign who inflicted more profound and enduring injuries upon this country than any other modern English king' (W.E.H. Lecky, nineteenth century), 'one of England's most ...
By Light Alone
In a world where we have been genetically engineered so that we can photosynthesise sunlight with our hair, hunger is a thing of the past, food an indulgence. The poor grow their hair, the rich affect baldness and flaunt their wealth by still eating. But other hungers remain ... The young daughter of an affluent New York family is kidnapped. The ransom demands are refused. A year later a young woman arrives at the family home claiming to be their long lost daughter. She has changed so much, she has lived on light, can anyone be sure that she has come home? Adam Roberts' new novel is yet another amazing melding of startling ideas and beautiful prose. Set in a New York of the future it nevertheless has echoes of a Fitzgeraldesque affluence and art-deco style. It charts his further progress as one of the most important writers of his generation.
Middlemarch
In Middlemarch, George Eliot draws a character passionately absorbed by abstruse allusion and obscure epigraphs. Casaubon's obsession is a cautionary tale, but Adam Roberts nonetheless sees in him an invitation to take Eliot's use of epigraphy and allusion seriously, and this book is an attempt to do just that. Roberts considers the epigraph as a mirror that refracts the meaning of a text, and that thus carries important resonances for the way Eliot's novels generate their meanings. In this lively and provoking study, he tracks down those allusions and quotations that have hitherto gone unidentified by scholars, examining their relationship to the text in which they sit to unfurl a broader argument about the novel - both this novel, and the novel form itself. Middlemarch: Epigraphs and Mirrors is both a study of George Eliot and a meditation on the textuality of fiction. It is essential reading for specialists and students of George Eliot, the nineteenth century novel, and intertextuality. It will also richly reward anyone who has ever taken pleasure in Middlemarch.
