Peter Conrad

'Dickensian is a language, not an adjective. Conrad speaks it fluently.' -- Spectator World'Marvellous... the best book on Dickens since G.K. Chesterton’s. -- A. N. Wilson, The OldieA kaleidoscopic investigation of Dickens’s imagination and the world he created. See Dickens as never before in this creative biography, which delves into his novels, journalistic essays and letters to reveal his strange, hilarious but obsessive personal character and the audacity of a mind that set out, as he said, to rearrange the universe. As well as re-examining the great novels, Conrad’s book probes the journalism in which Dickens reports on his risky ventures into the urban underworld. It also describes the celebrated but dangerously over-intense public readings in which, as at a seance, he allowed his most terrifying characters to take possession of him. Ultimately it reveals how the forces of creation and destruction come together in Dickens, who despite his reputation for jollity and effusive sentiment found it increasingly hard to control the madness and violence of his own self-destructive genius. Dickens the Enchanter takes us deep into an imagination whose power and originality struck some contemporaries as godlike while others thought it demonic. If you already love Dickens, it will renew your understanding of him; if you have yet to read him, it will lure you into his astonishing, alarming, enchanted world.

A kaleidoscopic investigation of Dickens’s imagination and the world he created.See Dickens as never before in this creative biography, which delves into his novels, journalistic essays and letters to reveal his strange, hilarious but obsessive personal character and the audacity of a mind that set out, as he said, to rearrange the universe. Peter Conrad’s bold rediscovery of Dickens suggests that he alone rivals Shakespeare and in some ways betters him. As well as re-examining the great novels, Conrad’s book probes the journalism in which Dickens reports on his risky ventures into the urban underworld. It also describes the celebrated but dangerously over-intense public readings in which, as at a seance, he allowed his most terrifying characters to take possession of him. Ultimately itreveals how the forces of creation and destruction come together in Dickens, who despite his reputation for jollity and effusive sentiment found it increasingly hard to control the madness and violence of his own self-destructive genius.Dickens the Enchanter takes us deep into an imagination whose power and originality struck some contemporaries as godlike while others thought it demonic. If you already love Dickens, it will renew your understanding of him; if you have yet to read him, it will lure you into his astonishing, alarming, enchanted world.

People who saw the first moving pictures at the end of the nineteenth century were delighted by a new art that communicated without words - yet they were also alarmed to be witnessing events in a strange, mute, spectral realm, where the laws of time and space were suspended and magical transformations could occur. Some early commentators hailed cinema as a blessing and praised it for resurrecting the dead; others likened it to a hypnotic trance or a hallucinogenic drug. The medium has always been excited by speed, and it enjoys sending the body on furious kinetic chases; at the same time, it stealthily probes our minds, invading our dreams and titillating our desires. Although this is an art kindled by light and inflamed by colour, it is nurtured by darkness and can reduce life to an insubstantial shadow play. Either way, as Peter Conrad argues in this brilliant book, the movie camera has given us new eyes and changed forever our view of reality. The Mysteries of Cinema sets out to map this ambiguous territory by taking readers on a thematic roller-coaster ride through movie history. Directors and critics speculate about the nature of cinematic vision, and there are contributions to the debate from writers like Kafka, Virginia Woolf and Joan Didion, artists including Salvador Dali, George Grosz and Fernand Leger, and the composers Arnold Schoenberg and Dmitri Shostakovich. The book begins from the audacious innovations of silent film, and examines the influence of French surrealism and German expressionism; it accounts for the appeal of Hollywood genres like the Western, the horror film and the musical, and ends by considering the fate of the moving image in our visually glutted society. Combining contagious enthusiasm with an eye for the subjective quirks of filmmakers and the allure of favourite performers, Conrad delivers an astonishing addition to the literature on the seventh art.

Despite a proclaimed respect for scientific reason, humans are still as intrigued by myth as their remote ancestors. Laptops and smartphones are sold under a logo that invokes the forbidden fruit of the Garden of Eden; skimpily clad classical nymphs cavort in TV reality shows; Narcissus makes a comeback whenever we snap a selfie. Mythical creatures such as handsome vampires abound in best-selling novels. Myth has also invaded the political realm, now that terrorists brandish black flags and recite theological mantras as they martyr themselves. In twenty-seven self-contained entries, Peter Conrad illuminates in his own remarkable way subjects from the British Queen to the Kardashians, via Banksy, vaping, Trump's penthouse, and the inception of the Large Hadron Collider. In Judge Judy, he shows a matronly Roman goddess dispensing justice with a fly swatter. In the metamorphosis of Caitlyn Jenner from Olympic athlete and paterfamilias into idealized female form, he finds parallels to the transformations of the residents of Mount Olympus. Myths used to tell us where we came from. Now, alarmed but also elated by the pace of change in our society, we need them to tell us where we are going