William Graham

Gateway — Frederik Pohl

First published 1976.  Gollancz paperback, 2006, pp 293 (inc. c.60pp illustrations/notes), c.70,000 words (main text). Pohl was a big figure in the SF community in America in the 20th century, acting as a literary agent, SF magazine editor, as well as conference and society presidents.  He published many stories in magazines, under his own and

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Lord Jim — Joseph Conrad

First published 1900.  Wordsworth paperback, 2002, pp 261 + 40p of introduction, notes, etc., c.120,000 words (main text). Conrad must have been a natural linguist to be able to write so well in English, his third or possibly fifth language: after Polish and French and probably Russian and German.  He is little concerned with the

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Espedair Street — Iain Banks

First Published 1987.  Abacus paperback, 2013, pp 362, c.97,000 words. Mock-rock biopics are fertile ground to plough owing to the excesses of prog-rock and heavy metal bands.  This is Spinal Tap, the 1984 film, set a blistering pace with several snippets become culturally embedded such as ‘turning it up to eleven.’  This is Banks’ take

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Ringworld — Larry Niven

First published 1970.  Gollanz paperback, 2005, pp 288, c.95,000 words. This is the book that gave Niven his breakthrough.  He won the Hugo and the Nebula for it, as well as other awards.  Later he went on to write three sequels as well as a lot of other SF.  It stands up well as a

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Spy’s Honour — Gavin Lyall

First published 1993.  Coronet paperback, 1994, pp 383, c.130,000 words. Gavin Lyall wrote a series of successful thrillers from the 1940s through to the 1990s. Initially they were in the in the Alistair McLean and Hammond Innes mould of ordinary people sucked in to some extraordinary situation.  A number were set in the world of

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Garden Book, The — Tim Richardson

First published 2000.  Phaidon paperback, 2000, pp 512, 500 illustrations with a paragraph about each. The introduction states: ‘The Garden Book is a comprehensive illustrated survey of 500 of the world’s most influential garden makers – designers, patrons and owners – and their gardens.’ [p3]  The editors have carefully chosen their words but perhaps are

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