Bøger af G. K. Chesterton

Father Brown is a Catholic priest, but a slightly unusual one in that he¿s also an amateur detective. Unlike his more famous literary cousin Sherlock, Father Brown takes a less analytical and more intuition-oriented approach to solving the many murders that he happens to come across.This collection of short murder mysteries is Brown¿s first appearance on the literary stage. In it we see him practicing his unique brand of sleuthing alongside his sometimes-partner, the reformed master criminal Flambeau.

Father Brown, full-time Catholic priest and part-time amateur detective, returns in this third collection of short stories.Unlike the first two collections, this time Father Brown is investigating alone; his sidekick, the former criminal Flambeau, is nowhere to be seen. Father Brown has to solve a murder (including his own!) in each story, and since several also appear to involve the supernatural, he has ample opportunity to elaborate on his thoughts concerning it. As with the first two collections, Chesterton is often as concerned with the moral of the story as with the mystery itself.Most of the stories were previously published in The Pall Mall Magazine, though one appeared in Cassell¿s Magazine and another was written specifically for this collection.

Sometimes described as thrilling, sometimes as comic, and sometimes as metaphysical or spiritual, The Man Who Was Thursday is perhaps a little of each. The tale begins when an undercover policeman infiltrates a mysterious Anarchist group. As the novel progresses, things become more comic and improbable, and eventually evolve in to a sort of abstract, dreamlike state. Filled with Christian allegory, Thursday is a glittering, fascinating exploration of good versus evil and theology through the lens of adventure, wit, and the surreal.

Father Brown returns in his fourth collection of stories, and his sidekick Flambeau makes a return as well, although only in the two framing stories at the beginning and end of the collection.In the intervening ten stories, Father Brown is alone, and investigating mysteries involving objects as varied as mirrors, literal goldfish (made out of gold), and a suit of armor. As always, his investigations also provide him an opportunity to expound on the nature of evil, the differences between a charlatan¿s representation of the supernatural and the real thing, and the opportunities for thieves and murderers to repent of their deeds.

Father Brown, G. K. Chesterton¿s crime-solving Catholic priest, is back in this second collection of Father Brown short stories.In this collection, Brown is joined by his sidekick, the former arch-criminal Flambeau. Brown is directly involved in the investigations less frequently than in The Innocence of Father Brown, and several of the stories don¿t even feature murder. Despite this, the shorts each feature Brown solving a mystery using his characteristic insight into human nature and morality.The stories in this collection were initially published in various serials, including McClure¿s Magazine and The Pall Mall Magazine. Chesterton arranged them in this collection almost in order of publication.

The Napoleon of Notting Hill, like so many Chesterton novels, deftly straddles the fence between humor and philosophy. The place is London, in the far-future year of 1984. Inexplicably, not too much has changed since the turn of the century¿except that the king is chosen at random. Things quickly take a turn for the worse when the people randomly select an imbecile who only cares about a good joke.With the new prankster king in place, the novel continues on with surprisingly action-packed breeziness, exploring themes of identity, patriotism, politics, and government.

We rely on your support to help us keep producing beautiful, free, and unrestricted editions of literature for the digital age.Will you support our efforts with a donation?Charles Swinburne and his friend, the private detective Rupert Grant, are startled when Major Brown recounts the things that happened to him that morning. Along with Rupert¿s brother, the ex-judge Basil Grant, they launch headlong into their investigation only to discover that the antagonist is a member of the Club of Queer Trades. Over the course of six short stories, the secrets of the Club come to light in surprising ways.The Club of Queer Trades was one of G. K. Chesterton¿s earlier works, and was originally serialized in Harper¿s Weekly in 1904 before being collected into a novel in 1905. In recent years it was produced as a six-part radio drama by the BBC.

G. K. Chesterton was an English writer, journalist, philosopher, poet and lay theologian. He delighted in standing conventional wisdom on its head in order to expose what he considered to be the lack of substance in the ¿vague modern.¿In Heretics, he touches on a range of topics, including social Darwinism, eugenics, nihilism and atheism, while enumerating the flaws he finds in the work of his intellectual contemporaries such as Rudyard Kipling, Friedrich Nietzsche, George Bernard Shaw, and H. G. Wells.

" Scene: A plantation of thin young trees, in a misty and rainy twilight; some woodland blossom showing the patches on the earth between the stems.The Stranger is discovered, a cloaked figure with a pointed hood. His costume might belong to modern or any other time, and the conical hood is so drawn over the head that little can be seen of the face.A distant voice, a woman's, is heard, half-singing, half-chanting, unintelligible words. The cloaked figure raises its head and listens with interest. The song draws nearer and Patricia Carleon enters. She is dark and slight, and has a dreamy expression. Though she is artistically dressed, her hair is a little wild. She has a broken branch of some flowering tree in her hand. She does not notice the stranger, and though he has watched her with interest, makes no sign. Suddenly she perceives him and starts back.Patricia. Oh! Who are you?.."

" A cloud was on the mind of men, and wailing went the weather, Yea, a sick cloud upon the soul when we were boys together. Science announced nonentity and art admired decay;The world was old and ended: but you and I were gay.Round us in antic order their crippled vices came¿Lust that had lost its laughter, fear that had lost its shame.Like the white lock of Whistler, that lit our aimless gloom,Men showed their own white feather as proudly as a plume.Life was a fly that faded, and death a drone that stung;The world was very old indeed when you and I were young.They twisted even decent sin to shapes not to be named:Men were ashamed of honour; but we were not ashamed.Weak if we were and foolish, not thus we failed, not thus;When that black Baal blocked the heavens he had no hymns from us. Children we were¿our forts of sand were even as weak as we,High as they went we piled them up to break that bitter sea.Fools as we were in motley, all jangling and absurd,When all church bells were silent our cap and bells were heard."

G. K. Chesterton's beloved priest-detective, Father Brown, bids farewell in his final appearance in The Scandal of Father Brown (1935), the fifth and concluding collection of short stories. With his endearing and shambling demeanor, Father Brown masterfully untangles a diverse array of mysteries, often while playfully feigning bewilderment. Accompanied by a captivating and enchanting ensemble of characters, Father Brown embarks on a series of complicated and unpredictable adventures. The book commences with an improbable scandal involving Father Brown and the beautiful Hypatia Hard. Subsequently, Father Brown delves into solving perplexing murders, inexplicable disappearances, sinister poisonings, audacious thefts, and other illicit deeds. This Warbler Classics edition includes an extensive biographical timeline of Chesterton's life and work.

" One of the strangest examples of the degree to which ordinary life is undervalued is the example of popular literature, the vast mass of which we contentedly describe as vulgar. The boy's novelette may be ignorant in a literary sense, which is only like saying that a modern novel is ignorant in the chemical sense, or the economic sense, or the astronomical sense; but it is not vulgar intrinsicallyit is the actual centre of a million flaming imaginations. In former centuries the educated class ignored the ruck of vulgar literature. They ignored, and therefore did not, properly speaking, despise it. Simple ignorance and indifference does not inflate the character with pride. A man does not walk down the street giving a haughty twirl to his moustaches at the thought of his superiority to some variety of deep-sea fishes. The old scholars left the whole under-world of popular compositions in a similar darkness."

" It will hardly be denied that there is one lingering doubt in many, who recognise unavoidable self-defence in the instant parry of the English sword, and who have no great love for the sweeping sabre of Sadowa and Sedan. That doubt is the doubt whether Russia, as compared with Prussia, is sufficiently decent and democratic to be the ally of liberal and civilised powers. I take first, therefore, this matter of civilisation.It is vital in a discussion like this, that we should make sure we are going by meanings and not by mere words. It is not necessary in any argument to settle what a word means or ought to mean. But it is necessary in every argument to settle what we propose to mean by the word. So long as our opponent understands what is the thing of which we are talking, it does not matter to the argument whether the word is or is not the one he would have chosen. A soldier does not say "We were ordered to go to Mechlin; but I would rather go to Malines." He may discuss the etymology and archæology of the difference on the march; but the point is that he knows where to go. So long as we know what a given word is to mean in a given discussion, it does not even matter if it means something else in some other and quite distinct discussion. We have a perfect right to say that the width of a window comes to four feet; even if we instantly and cheerfully change the subject to the larger mammals; and say that an elephant has four feet. The identity of the words does not matter, because there is no doubt at all about the meanings; because nobody is likely to think of an elephant as four foot long, or of a window as having tusks and a curly trunk."

Title: "The Man Who Knew Too Much" by G.K. Chesterton - An Engaging Collection of Mysteries Unraveling the Limits of Knowledge.In "The Man Who Knew Too Much", G.K. Chesterton, renowned for his Father Brown mystery series, takes readers on a thrilling journey through a series of detective stories. This collection presents a different kind of sleuth - Harold March, a man whose abundant knowledge often proves more of a curse than a blessing.The eight stories in this collection are intriguingly varied, yet all revolve around March's peculiar knack for stumbling upon complex mysteries. From political scandals to troubling murders, March, with his deep understanding of human nature and the world, manages to untangle the most convoluted of plots.Chesterton's adept storytelling is highlighted in this work, as he navigates themes of morality, politics, and the boundaries of knowledge with his signature wit and insight. His knack for crafting suspenseful narratives is evident, offering readers a blend of intellectual stimulation and riveting detective fiction."The Man Who Knew Too Much" is an engaging read that probes the paradoxes of knowledge and the nuances of detective work. For fans of G.K. Chesterton's works and lovers of classic detective stories, this book is a rewarding and thought-provoking read.Keywords: G.K. Chesterton, The Man Who Knew Too Much, detective stories, Harold March, mystery, Father Brown, knowledge, morality, politics, detective fiction, mystery stories, classic detective tales, Father Brown series, Harold March, political scandals, intellectual stimulation, paradoxes of knowledge, classic English literature, suspenseful narratives, murder mysteries, wit and insight, Chesterton's detective works.

""The Man Who Was Thursday"" is a philosophical and allegorical novel written by G. K. Chesterton, first published in 1908. It follows the story of Gabriel Syme, a poet who is recruited by a secret anti-anarchist organization. Syme becomes a member of a Central European council of anarchists, each named after a day of the week, including the enigmatic Sunday, who holds a significant position within the organization.As Syme delves deeper into the world of anarchists, he finds himself embroiled in a complex and surreal series of events. The story explores themes of truth, deception, individualism, and the nature of human identity. It combines elements of mystery, thriller, and satire, with Chesterton's characteristic wit and intellectual depth.

Todo libro de investigación social moderna tiene una estructura de algún modo muy definida. Empieza por regla general con un análisis, con estadísticas, tablas de población, la disminución de la delincuencia entre los congregacionistas, el crecimiento de la histeria entre los policías y otros hechos igualmente comprobados; acaba con un capítulo que normalmente se llama «La solución». Suele deberse casi enteramente a este cuidadoso, sólido y científico método el hecho de que «La solución» nunca se encuentre, pues este esquema de preguntas y respuestas médicas es un disparate; el primer gran disparate de la sociología. Siempre debe declararse la enfermedad antes de que encontremos la cura. Pero es la entera definición y dignidad del hombre lo que, en cuestiones sociales, nos impone encontrar la cura antes de encontrar la enfermedad.

In the aptly titled treatise What's Wrong With the World, one of the twentieth century's most memorable and prolific writers takes on education, government, big business, feminism, and a host of other topics. A steadfast champion of the working man, family, and faith, Chesterton eloquently opposed materialism, snobbery, hypocrisy, and any adversary of freedom and simplicity in modern society. Culled from the thousands of essays he contributed to newspapers and periodicals over his lifetime, the critical works collected for this edition pulse with the author's unique brand of clever commentary. As readable and rewarding today as when they were written over a century ago, these pieces offer Chesterton's unparalleled analysis of contemporary ideals, his incisive critique of modern efficiency, and his humorous but heartfelt defense of the common man against trendsetting social assaults.

"We must hit Capitalism, and hit it hard, for the plain and definite reason that it is growing stronger." Chesterton’s essays on the pitfalls of capitalism, written in the early 1900s, still strike true in the modern-day. One of England’s greatest essayists, Chesterton analyses the claims of capitalism without preaching or favouring Marxist and socialist thinkers. Instead, Chesterton’s anti-capitalist arguments are drawn from his own Christian ideals and philosophical reasoning, giving a unique perspective that is invaluable for historians and students of philosophy alike. Readers of Rebecca Henderson or Thomas Piketty should not miss this extraordinary glimpse into the ideologies of the past.Gilbert Keith Chesterton (1874 – 1936) was an English writer, journalist, philosopher, and literary critic. An unparalleled essayist, he produced over four thousand essays during his lifetime, alongside eighty novels and two hundred short stories. Tackling topics of politics, history, philosophy, and theology with tenacious wit and humour, G. K. Chesterton was often considered a master of the paradox. Himself both a modernist and devout Catholic, he is remembered best for his priest-detective short stories ‘Father Brown’, and his metaphysical thriller ‘The Man Who Was Thursday’. In his lifetime, Chesterton befriended and debated some of the greatest thinkers of the age, such as George Bernard Shore, H. G. Wells, and Bertrand Russell, while his works went on to inspire figures including T. S. Eliot, Michael Collins, and Mahatma Gandhi.