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This delightful book is an anthology of Beerbohm`s best images, accompanied by historical and analytical commentary by N. John Hall that is enriched by liberal quotation from Beerbohm`s own witty essays, criticism, letters, and fiction.

Max Beerbohm was widely celebrated as the wittiest mind of his age. And it was a very long age indeed: he became famous in the mid-1890s and remained so until his death in 1956. His wit manifested itself in both prose and caricature, and his writings and drawings are keenly interesting. Max’s life, however, was relatively uneventful, and of interest, he said, only to himself. This biography of Beerbohm, the first in forty years, enlivens his story by quoting him whenever possible, and the result―thanks to Max himself―is a scintillating and entertaining book.John Hall moves quickly through Max’s history: schoolboy; college undergraduate; London caricaturist, journalist, and critic; Edwardian social butterfly; married man and self-exile to Italy in 1910, where he produced numerous books, essays, and caricatures; and, from 1935 to 1956, occasional BBC radio broadcaster. Hall notes that although all Max’s work during his fifteen early years on the London scene concerned contemporary art and life, after his “retirement” in 1910 his writings and drawings harkened back to the late-Victorian/Edwardian era and even to the Pre-Raphaelites; he became, he said, an “interesting link with the past.”This book, like Beerbohm’s work, highlights his connection with various eminences over three eras: Algernon Swinburne, J.A.M. Whistler, Oscar Wilde, Henry James, George Bernard Shaw, Lytton Strachey, Virginia Woolf, and many others. Written in an idiosyncratic, opinionated, lively, quirky style, it is just the kind of biography of which Max might have (for the most part) approved.

The dandy. Brummell to Beerbohm.

The Offensive Art is an arch and sometimes caustic look at the art of political satire as practiced in democratic, monarchical, and authoritarian societies around the world over the past century-together with the efforts by governmental, religious, and corporate authorities to suppress it by censorship, intimidation, policy, and fatwa. Examples are drawn from the full spectrum of satiric genres, including novels, plays, verse, songs, essays, cartoons, cabarets and revues, movies, television, and the Internet. The multicultural and multimedia breadth and historical depth of Freedman's comparative approach frames his novel assessment of the role of political satire in today's post-9/11 world, and in particular the cross-cultural controversies it generates, such as the global protests against the Jyllands-Posten cartoons.In a tongue-in-cheek style peppered with the world's best one-liners from the last century, The Offensive Art recounts the acrimonious and often perilous cat-and-mouse games between political satirists and their censors and inhibitors through the last century in America (especially FDR, LBJ, Nixon, Reagan, Clinton, and Bush II and in wartime), Britain (especially Churchill, Thatcher, Blair and the Royals), Germany (Hitler to the present), Russia (Stalin to the present), China (Mao to the present), India (from the Raj on), and the Middle East (from 1920s Egypt to today). Freedman focuses on the role and transformation of satire during shifts from authoritarian to democratic systems in such places as South Africa, Argentina, and Eastern Europe. He surveys the state of satire throughout the world today, identifying the most dangerous countries for practitioners of the offensive art, and presents his findings as to the political efficacy of satire in provoking change.

Literary Criticism, Humor, English Literature, Comedic Fiction

The Happy Hypocrite: A Fairy Tale for Tired Men, written by Sir Max Beerbohm, is a whimsical yet poignant tale that explores themes of identity and societal expectations. Set in a fantastical world, the story revolves around the charismatic Duke of Lathom, who conceals his true self behind a captivating mask of charisma and charm. When the Duke falls in love with a virtuous woman, he grapples with his inner conflict between authenticity and the allure of his fabricated persona. Beerbohm’s sharp wit and satirical prose craft a narrative that is both humorous and thought-provoking, revealing the complexities of human desires and the lengths to which one may go to maintain a façade. The novella not only critiques the superficial nature of society but also celebrates the transformative power of love. With its enchanting illustrations and rich storytelling, "The Happy Hypocrite" remains a timeless gem that resonates with readers seeking deeper truths in a superficial world.

"Henry VIII and His Court," authored by Sir Herbert Beerbohm Tree, is a captivating exploration of the tumultuous and opulent reign of King Henry VIII, focusing on the intricacies of the Tudor court. Tree, a renowned actor and playwright, presents a vivid portrayal of the era, weaving together the political intrigues, romantic entanglements, and the grand pageantry that defined Henry's rule. The book delves into the lives of iconic figures such as Anne Boleyn, Thomas More, and Cardinal Wolsey, bringing their stories to life with rich detail and narrative flair. Tree's mastery of language and dramatic storytelling immerses readers in the lavish world of 16th-century England, marked by power struggles, betrayals, and the quest for love and legacy. The text serves both as a historical account and a dramatic interpretation of events, making it accessible to those familiar with Tudor history and newcomers alike. This work remains a significant contribution to the literature surrounding one of England’s most enigmatic monarchs.

Zuleika Dobson, full title Zuleika Dobson, or, an Oxford love story, is a 1911 novel by Max Beerbohm, a satire of undergraduate life at Oxford. It was his only novel, but was nonetheless very successful. This satire includes the famous line "Death cancels all engagements" and presents a corrosive view of Edwardian Oxford. In 1998, the Modern Library ranked Zuleika Dobson 59th on its list of the 100 best English-language novels of the 20th century. The book largely employs a third-person narrator limited to the character of Zuleika (pronounced "Zu-lee-ka", not "Zu-like-a"), then shifting to that of the Duke, then halfway through the novel suddenly becoming a first-person narrator who claims inspiration from the Greek Muse Clio, with his all-seeing narrative perspective provided by Zeus. This allows the narrator to also see the ghosts of notable historical visitors to Oxford, who are present but otherwise invisible to the human characters at certain times in the novel, adding an element of the supernatural. Dr Robert Mighall in his Afterword to the New Centenary Edition of Zuleika (Collector's Library, 2011), writes: "Zuleika is of the future... [Beerbohm] anticipates an all-too-familiar feature of the contemporary scene: the D-list talent afforded A-list media attention." Beerbohm began writing the book in 1898, finishing in 1910, with Heinemann publishing it 26 October 1911. He saw it was not as a novel, rather "the work of a leisurely essayist amusing himself with a narrative idea." Sydney Castle Roberts wrote a parody Zuleika in Cambridge (1941).

Strange Music Moebius & Beerbohm - LP 4047179489010

Double Cut Moebius & Beerbohm - LP 4047179488419

Most critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten.Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors.Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ramée), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations.Recovering the lost work of the female aesthetes forces us to reconsider the central tenets of late-Victorian literary history.

Most critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten.Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors.Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ramée), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations.Recovering the lost work of the female aesthetes forces us to reconsider the central tenets of late-Victorian literary history.

Max Beerbohm's whimsical tale of a beautiful girl who takes Oxford by storm is illustrated with his own charming sketches.

This is the biography of the film director, Carol Reed. Born the illegitimate son of Sir Henry Beerbohm Tree, by the 1930s Reed was established as one of Britain's best young directors. After the war, Reed's intimate collaboration with Graham Greene blossomed in the film "The Third Man", which became a popular and critically acclaimed classic. Reed's personal life was no less extraordinary: he was Daphne du Maurier's first sweetheart, and married two of British cinema's most beautiful stars, Diana Wynyard and Penelope Dudley Ward. "The Man Between" explores every aspect of Reed's life and presents a portait, of one of Britain's greatest film directors.

C.B. Fry was Captain of England at cricket, played soccer for England, and became the joint-holder of the world long-jump record. But he was much more than a sportsman. He won a major scholarship to Oxford, where his friends numbered Max Beerbohm, Hilaire Belloc, and F.E. Smith. He wrote several books, including an autobiography and a novel, and he was one of the most successful journalists of his day. He was a friend of many prominent Labour and Liberal politicians, but flirted with Fascism, meeting Hitler in 1934. He tried out for Hollywood, represented India at the League of Nations, and stood for Parliament three times.

An selection of work from "The Yellow Book," a literary magazine which, for its three years of existence in the mid-1890s, shocked, titillated and amused literary London. Published by John Lane and Elkin Mathews at Bodley Head, the magazine boasted writers such as Max Beerbohm and Edmund Gosse. This book is a facsimile of the original issue, with front and back covers and spine designed by the ever-controversial Aubrey Beardsley, whose work is well represented among the many illustrations. Spine sunned. vi , 308, 12 pages. cloth.. 8vo..

The whimsical tale of a beautiful girl who takes Oxford by storm. Written by Max Beerbohm, it is illustrated with his own sketches, and there is an introduction by Professor N. John Hall.

Beerbohm, Max, Christmas Garland, A

?How deeply idiosyncratic the prose style of [the] late James' had become is patiently analyzed by Professor Chatman . . . and never more clearly than when [he] contrasts the affectionately accurate mockery of the Max Beerbohm parody, The Guerdon', with a careless off-the-mark whimsical effort by W. H. D. Rouse.?-Times Literary Supplement

The tales that make up Seven Men and Two Others start out as a set of "faux" memoirs set amid London literary life in the precious fin de siècle era and proceed into deliciously absurd fantasy. With a sense of fun, a hint of nostalgia, razor-sharp satire, and pitch-perfect parody, Beerbohm tugs at the affected nature of the whole literary scene—lamentable authors, wily agents, and preposterous weekend salons.