Graham Swift Ordre des livres (chronologique)

Inmitten eines Sturms reflektiert Jack Luxton über seine Ehe, Familie und die Herausforderungen seiner Zeit. Die Geschichte untersucht, wie gesellschaftlicher Wandel das menschliche Wesen beeinflusst und die Grundlagen der Existenz erschüttert und neu gestaltet.

Un vent de magie souffle sur la jetée de Brighton au cœur de l’été 1959. C’est dans le théâtre de cette station balnéaire anglaise que se produisent chaque soir Jack Robbins, Ronnie Deane et Evie White. Cet époustouflant trio offre aux vacanciers du bord de mer un spectacle de variétés à nul autre pareil. Sur les planches, ils deviennent Jack Robinson, malicieux maître de cérémonie, Pablo le Magnifique, magicien hors pair, et Eve, sublime assistante au costume étincelant. Le succès ne se fait pas attendre et leur numéro se retrouve bientôt en haut de l’affiche. Le charme n’opère d’ailleurs pas uniquement sur scène : au fil de l’été, les deux amis succomberont l’un et l’autre à celui, irrésistible, d’Evie. Au risque de tout perdre. Avec délicatesse et maestria, Le grand jeu nous plonge dans les coulisses des spectacles de magie et redonne vie à une époque disparue. Graham Swift révèle une fois de plus son talent de conteur et livre une bouleversante histoire d’amour, de famille et de mystère.

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A luminous, intensely moving tale that begins with a secret lovers' assignation in the spring of 1924, then unfolds to reveal the whole of a remarkable life. Twenty-two-year-old Jane Fairchild has worked as a maid at an English country house since she was sixteen. For almost all of those years she has been the clandestine lover to Paul Sheringham, young heir of a neighboring house. The two now meet on an unseasonably warm March day—Mothering Sunday—a day that will change Jane's life forever. As the narrative moves back and forth from 1924 to the end of the century, what we know and understand about Jane—about the way she loves, thinks, feels, sees, remembers—expands with every vividly captured moment. Her story is one of profound self-discovery, and through her, Graham Swift has created an emotionally soaring, deeply affecting work of fiction.

A collection of new stories from the Booker Prize-winning author of Last Ordersand Waterland

A triumphant return to form from the Booker Prize-winner. On an autumn day in 2006, on the Isle of Wight, Jack Luxton, former Devon farmer and now the proprietor of a seaside caravan park, receives the news that his soldier brother Tom, not seen for years, has been killed in Iraq. For Jack and his wife Ellie this will have a potentially catastrophic impact. For Jack in particular it means a crucial journey-to receive his brother's remains, but also into his own most secret, troubling memories and into the land of his and Ellie's past. Wish You Were Here is both a gripping account of things that touch and test our human core and a resonant novel about a changing England. Rich with a sense of the intimate and the local, it is also, inescapably, about a wider, afflicted world. Moving towards an almost unbearably tense climax, it allows us to feel the stuff of headlines - the return of a dead soldier from a foreign war - as heart-wrenching personal truth.

On a midsummer's night Paula lies awake, Mike, her husband of twenty-five years asleep beside her, her two teenage children, Nick and Kate, sleeping in nearby rooms. The next day, she knows, she will reveal a secret that will redefine all their lives

Sarah is in prison. Every fortnight she is visited by George, the private eye she employed to observe the final stage of her husband's affair. The visits - and the days between - lead George back into Sarah's past and into events he can picture only too well

Four men once close to Jack Dodds, a London butcher, meet to carry out his peculiar last wish: to have his ashes scattered into the sea. For reasons best known to herself, Jack's widow, Amy, declines to join them. On the surface the tale of a simple if increasingly bizarre day's outing, Last Orders is Graham Swift's most poignant exploration of the complexity and courage of ordinary lives.

Cambridge Literature is a series of literary texts edited for study by students aged 14–18 in English-speaking classrooms. It will include novels, poetry, short stories, essays, travel-writing and other non-fiction. The series will be extensive and open-ended and will provide school students with a range of edited texts taken from a wide geographical spread. It will feature writing in English from various genres and differing times. Learning to Swim by Graham Swift is edited by Richard Hoyes, Head of Sixth Form at Farnham College.

Prentis, the narrator of this nightmarish novel, catalogs "dead crimes" for a branch of the London Police Department and suspects that he is going crazy. His files keep vanishing. His boss subjects him to cryptic taunts. His family despises him. And as Prentis desperately tries to hold on to the scraps of his sanity, he uncovers a conspiracy of blackmail and betrayal that extends from his department and into the buried past of his father, a war hero code-named "Shuttlecock"--and, lately, a resident of a hospital for the insane.

Bill Unwin, in his 50s, looks back over his life and past. From his university rooms, he studies old family diaries from the mid-Victorian era. Excerpts from the diaries throw light on his own life - his feelings of hurt, revenge and family betrayal.

A collection of short stories by young British writers, this provides an introduction to the work of Iain Banks, Peter Benson, H.S. Bhabra, James Buchan, Patricia Ferguson, Ronald Frame, Patrick Gale, Carlo Gebler, James Lasdun, Deborah Levy, Adam Lively, Aidan Mathews, Candia McWilliam, Geoff Nicholson, Tim Parks, Philip Ridley, Joan Smith, Rupert Thomson, Daisy Waugh and Mathew Yorke. Many of these have already received critical acclaim. The collection is introduced by Graham Swift, author of "Waterland" and "Out of this World".

Fens, nízko položená oblasť východného Anglicka. Odvodnená krajina, ktorú kedysi tvorila voda a ktorá ešte ani dnes nie je celkom pevnou zemou. Realizmus, fatalizmus, flegma. To je krajina, do ktorej autor zasadil svoj sugestívny príbeh. Swift skonštruoval svoje dielo na troch hlavných rovinách. Prvú tvoria osobné zážitky hrdinu Toma, podávané ako spomienky na mladosť, na roky dospievania a prvé erotické zážitky s dcérou miestneho farmára ústiace v tragédiu zapríčinenú slabomyseľnosťou jeho staršieho brata Dicka. V druhej rovine sa autor zamýšľa nad zmyslom dejín, nad ich výkladom a postojom človeka k nim. V tretej rovine je to fascinujúca a bohatá história Fens, ako sa odráža na osudoch dvoch rodín, sedliackej a podnikateľskej, a na životných príbehoch typických postáv, dopĺňajúci miestny kolorit. Realistický obraz života zaostalého kraja, izolovaného od ostatného sveta, je spestrený iróniou a miestami priam šibeničným humorom.

Harry Beech, an aerial photographer, surveys his scarred memories - his career as a photojournalist, abruptly terminated; the death by terrorists of his father, and his marriage. Meanwhile, his daughter, Anna, tries to piece together the fragments of her life.

In London des Jahres 1977 lebt und arbeitet Mr. Prentis, der 32jährige Archivar einer Polizeiabteilung. Er ist mit seinem Leben unzufrieden. Tagsüber fühlt er sich von seinem Chef beobachtet und gequält, abends reizt ihn das Verhalten von Kindern und Frau, so daß er am liebsten zuschlagen möchte, bissartig wird, wo er Liebe bezeigen will. Prentis ahnt, daß sein Leben von Gründen beeinflußt wird, die in tieferen Regionen liegen

'Graham Swift has shown that he has an authority - of style, characterization, grasp of life. These concentrated enigmatic stories address their subjects with such intelligent conviction and clarity that their ambiguities are not left to be stumbled on by the reader, but are challengingly displayed. They are like James's stories in the way they apply an almost scientific analytical cleverness to the things in life which are forever vague, painful or imponderable' Times Literary Supplement 'The ties that bind people, the good and bad things they do to each other, the happiness, embarrassment and the pain that they cause their friends, their partners, their children - these are Graham Swift's chief concerns. He has a wide range; he can be delicately sensitive or outrageously funny. He is a born storyteller' Daily Telegraph

In the sweet shop Willy Chapman was free, absolved from all responsibility, and he ran his sweet shop like his life - quietly, steadfastly, devotedly. It was a bargain struck between Chapman and his beautiful, emotionally injured wife - a bargain based on unexpressed, inexpressible love and on a courageous acceptance of life's deprivation.

As a novelist, Graham Swift delights in the possibilities of the human voice, imagining his way into the minds and hearts of an extraordinary range of characters.