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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 dandy. Brummell to Beerbohm.

First edition. Illustrations. xiv, 193 pages. cloth, dust jacket.. 8vo..

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

Beerbohm, Max, Christmas Garland, A

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..

Sir Max Beerbohm (1872 – 1956) was an English writer best known for satirical works including the novel Zuleika Dobson.

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.

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.

Double Cut Moebius & Beerbohm - LP 4047179488419

Strange Music Moebius & Beerbohm - LP 4047179489010

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.

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.

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.