Bøger udgivet af Marion Boyars Publishers Ltd

A mountain girl, Maya, fights her fate in a traditional Indian family. Poetic and completely original.

At first this novel seems to be merely a fey portrait of a precious Dublin menage: Eddie and Maurice (lovers); Maria Keeley, once a famous Irish opera singer (now known as "The La"); and Jim Dillingham, an ex-priest who removed his collar when he was revealed to be the author of a pseudonymous book which argued against the notion of original sin. Eventually, however, this turns out to be a noble and dignified drama (perhaps too noble), in which the housemates will expose their needs and reach out to each other. Maurice is dying of leukemia - with Eddie unable to figure out how to live without him. 'The La" is a kleptomaniac. And Jim Dillingham's spiritual trial, prompted by the remarkable love shared by Eddie and Maurice during the latter's last days, is actually one of regaining the faith that he's so sure has been lost forever. Finally, then, in the novel's most harrowing scene, the dying Maurice will force Eddie to declare his hatred and disgust for a world that is so cruel as to leave him alone, without Maurice. And Dillingham will in all compassion reach out physically to Eddie - but when Eddie rejects him, the expriest will rejoin the clergy . . . or at least assume some of its soul-saving functions. This denouement, unfortunately, is all too distinctly predictable. And Irish novelist Broderick tends, obtrusively, to sermonize. But overall this is serious, unflashy fiction of nuance and responsibility - quietly stirring at least as often as it is sluggish or pious. (Kirkus Reviews)

"I Lost it at the Movies" is vintage Kael on such classics of post-War cinema as "On the Waterfront, Smiles of a Summer Night, West Side Story, The Seven Samurai, Lolita, Jules et Jim" etc. Her comments are so fresh and direct, it's as if the movies had only been released last week.

The Investigation is a dramatic re-construction of the Frankfurt War Crimes trials, based on the actual evidence given. This testimony concerning Auschwitz and the atrocities which were enacted there has been edited and extracted by Peter Weiss into a dramatic document that relies solely and completely on the facts for its effectiveness. There is no artistic license, no manipulation of facts and figures, no rearrangement of events for theatrical effect. Nameless witnesses stand and recall their appalling memories of Auschwitz, allowing us to bear witness to their painful and painstaking search for truth and, ultimately, justice. What emerges is a chastening and purging documentary of deeply moving power. The Investigation was premiered on October 19th, 1965, in thirteen theatres in East and West Germany. At the same time, a produced reading was given under Peter Brook at the Aldwych Theatre in London. As with Peter Weiss' The Marot/Sade, productions have mushroomed throughout the world, effectively consolidating a remarkable literary reputation.