Set on the crazier fringes of 1950s literary London, A Far Cry from Kensington is a delight, hilariously portraying love, fraud, death, evil, and transformation.

Mrs. Hawkins, the majestic narrator of A Far Cry from Kensington, takes us well in hand and leads us back to her threadbare years in postwar London. There, as a fat and much admired young war widow, she spent her days working for a mad, near-bankrupt publisher (“of very good books”) and her nights dispensing advice at her small South Kensington rooming house. At work and at home Mrs. Hawkins soon uncovered evil: shady literary doings and a deadly enemy; anonymous letters, blackmail, and suicide. With aplomb, however, Mrs. Hawkins confidently set about putting things to order, little imagining the mayhem that would ensue.

Now decades older, thin, successful, and delighted with life in Italy—quite a far cry from Kensington—Mrs. Hawkins looks back to all those dark doings and recounts how her own life changed forever. She still, however, loves to give advice: “It’s easy to get thin. You eat and drink the same as always, only half…I offer this advice without fee; it is included in the price of this book.”

“How wonderful to be an artist and a woman in the twentieth century,” Fleur Talbot rejoices. Loitering about London in 1949, with intent to gather material for her writing, Fleur finds a job “on the grubby edge of the literary world,” as secretary to the odd Autobiographical Association. Are they a group of mad egomaniacs, hilariously writing their memoirs in advance–or poor fools ensnared by a blackmailer? Rich material, in any case.

But when its pompous director, Sir Quentin, steals the manuscript of Fleur’s new novel, fiction begins to appropriate life. The association’s members begin to act out scenes exactly as Fleur herself had already written them in her missing manuscript. And as they meet darkly funny, pre-visioned fates, where does art start or reality end?

This novel isMuriel Spark in prime form, one of her most enjoyable, complex, and instructivejeux d’esprit.

Unforgettably astounding and a joy to read, Memento Mori is considered by many to be the greatest novel by the wizardly Dame Muriel Spark.

In late 1950s London, a group of aging eccentrics is brought together by a series of uncanny events. Lettie Colston is the first to receive an anonymous phone call from an insinuating voice reminding her that she must die. Soon, ten of Lettie’s friends also receive the call. In the flurry that results from these seemingly supernatural messages, a bizarre investigation is launched that reveals a network of deception binding the group, including such dark secrets as blackmail and adultery.

As spooky as it is witty, poignant, and wickedly hilarious, Memento Mori may ostensibly concern death, but it is a book which leaves one relishing life all the more.

Award-winning British author Dame Muriel Spark is internationally renowned for her witty and engaging tales of life. Short and sophisticated, Reality and Dreams follows the career of self-centered, middle-aged film director Tom Richards. As he turns colorful incidents from his life into glittery, cinematic fiction, his foreboding dreams become all too real. Tom is passionately directing his latest film when he falls from a crane on the set. Awaking in a semi-conscious fog in a hospital room, he suddenly must deal with a comic, surreal procession of doctors, nurses, and out-of-work relatives. In a drugged daze, he dreams of ways to change his life. But some of his hazy visions come true as he recovers, causing Tom’s real world to unravel into a distorted soap opera. Muriel Spark is an honorary member of the American Academy of Arts and Letters and winner of the prestigious David Cohen British Literature Prize. Her tantalizing story, Reality and Dreams, won the Arts Council Spring Book Award. With narrator Jenny Sterlin’s expert pacing, all of the delicious surprises and the unsettling wisdom in this dark, contemporary comedy burst from the pages.

A barrister, a “priest,” a detective, a lovelorn Irishman, a handwriting expert, a heinous spiritual medium … the very British bachelors of Muriel Spark’s supreme 1960 novel come in every stripe. First found contentedly chatting in their London clubs and shopping at Fortnum’s, the cozy bachelors are not set to stay cozy for long. Soon enough, the men are variously tormented—defrauded, stolen from, blackmailed, or pressed to attend horrid séances—and then plunged, all together, into the nastiest of lawsuits. At the center of that suit hovers pale, blank Patrick Seton, the medium. Meanwhile, horrors of every size plague the poor bachelors—from epileptic fits to forgeries, spiritualists foaming with protoplasm, and murder—and each horror delights, lit up by Spark’s uncanny wit, at once malicious, funny, and deadly serious.

The Ballad of Peckham Rye is the wickedly farcical fable of a blue-collar town turned upside down. When the firm of Meadows, Meade & Grindley hires Dougal Douglas (a.k.a. Douglas Dougal) to do “human research” into the private lives of its workforce, they are in no way prepared for the mayhem, mutiny, and murder he will stir up. In fact, this Music Man of the thoroughly modern corporation changes the lives of all the eccentric characters he meets, from Miss Merle Coverdale, head of the typing pool, to V. R. Druce, unsuspecting managing director.

This is Dame Muriel Spark at her most devilishly piquant.

College Sunrise is a vaguely disreputable finishing school in Lausanne, Switzerland. Rowland Mahler and his wife, Nina, run the school as a way to support themselves while he works, somewhat falteringly, on his novel. Into his creative writing class comes seventeen-year-old Chris Wiley, a literary prodigy whose historical novel-in-progress on Mary Queen of Scots and the murder of her husband Lord Darnley has already excited the interest of publishers. The inevitable results are keen envy and a game of cat and mouse not free of sexual jealousy and attraction.

Nobody writing has a keener instinct than Muriel Spark for hypocrisy, self-delusion, and moral ambiguity, or a more deliciously satirical eye. The Finishing School is certain to be another Spark landmark.

“Long ago in 1945 all the nice people in England were poor, allowing for exceptions…” Thus begins Muriel Spark’s tragic and rapier-witted portrait of a London ladies’ hostel just emerging from the shadow of World War II. Like the May of Teck Club building itself—“three times window shattered since 1940 but never directly hit”—its lady inhabitants do their best to act as if the world were back to normal, practicing elocution and jostling over suitors and a single Schiaparelli gown. But the novel’s harrowing ending reveals that the girls’ giddy literary and amorous peregrinations are hiding some tragically painful war wounds.

The Mandelbaum Gate divides the conflict-torn realm of Jerusalem, separating Israel from Jordan. Barbara Vaughn, a stubborn young Englishwoman and half-Jewish Catholic convert, insists upon crossing the divide in order to rendezvous with her fiancé, in spite of the very real danger. Not even the threat of bodily harm and fearful admonishments of staid British diplomat Freddy Hamilton can dissuade Barbara from her ill-timed pilgrimage. Her quest sets off a series of bizarre situations and adventures, set against the backdrop of the Eichmann trial of 1961.

Muriel Spark has created a many-faceted novel, both comic and serious, enriched by a wealth of information.

In the classic work that launched a play, a movie, and a song, Muriel Spark tells the darkly intriguing story of an eccentric Edinburgh teacher and the intense relationship she develops with six of her students.

At the staid Marcia Blaine School for Girls, in Edinburgh, Scotland, teacher extraordinaire Miss Jean Brodie is unmistakably, and outspokenly, in her prime. She is passionate in the application of her unorthodox teaching methods, preaching the value of art, passion, and daring. She is also passionate in her attraction to the married art master, Teddy Lloyd, in her affair with the bachelor music master, Gordon Lowther, and–most important–in her dedication to “her girls,” the students she selects to be her “creme de la creme.”

Fanatically devoted, each member of the Brodie set–Eunice, Jenny, Mary, Monica, Rose, and Sandy–is “famous for something,” and Miss Brodie strives to bring out the best in each one. Determined to instill in them independence, passion, and ambition, Miss Brodie advises her girls, “Safety does not come first. Goodness, Truth, and Beauty come first. Follow me.”

And they do. But one of them will betray her.

Told from the unsympathetic perspective of one of Miss Brodie’s students, this novel explores themes of innocence, betrayal, and the tension between cold rationality and unchecked emotionalism.