THE MARK OF A GREAT, TOUGH BOOK MAY NOT be how many literature classes it’s taught in but how many film or TV adaptations you can drape on its branches without breaking them. Dramatizations are tricky

Times change and books change with them. The Horse’s Mouth, which the Everyman editor, Christoper Reid, describes in his introduction as “by far the best known volume” of Joyce Cary’s first trilogy of

“Where are we to begin?”, Virginia Woolf asks in her essay “How to Read a Book”. “How are we to bring order into this multitudinous chaos and so get the deepest and widest pleasures from what we read?

EARLIER this month, English director Emerald Fennell’s interpretation of Emily Brontë’s “Wuthering Heights” hit cinemas. Fennell’s take on the literary classic divided audiences even before its releas

Gerald Howard’s The Insider is a crowded but colourful portrait of Malcolm Cowley, poet, editor and chronicler of the so-called Lost Generation – those American exemplars of literary modernism who, li

“A deluge of printed matter pours over the world”, F. R. Leavis proclaimed in his doctoral thesis of 1924. An excess of low-quality verbiage, in the view of this young literary scholar, was doing harm