Books published by Marion Boyars Publishers Ltd

A collection of poetry from Russian dissidents, and those part of the great poetic revival after Stalin was removed from power. A re-examination of the national conscience followed Stalin's death, when 14,000 people gathered in Moscow to hear a group of young poets reading their work.

Collection of candid meditations on love, sex, and desire.

When the Norwegian composer Christian Sinding introduced his young friend Frederick Delius (1862-1934) to Edvard Grieg (1843-1907) in Leipzig in 1887, it was to be a memorable occasion for each of them. Delius in particular was later to write of this first meeting with Grieg with great fondness and affection: 'I was very proud of having made his acquaintance, for since I was a little boy I had loved his music. I had as a child always been accustomed to Mozart and Beethoven and when I first heard Grieg it was as if a breath of mountain air had come to me.'. It was, for both men, the beginning of a long and deep personal friendship that, despite the inevitable vissitudes of time, survived until death was to claim each of them. Of all Grieg's English friends, Delius was by far the closest; and Grieg, in turn, played an important role in Delius's development both as a man and a composer. A contributory factor to their friendship was Delius's profound commitment to and interest in Norway even before he met Grieg. Throughout his life he was drawn to Norway's breathtaking landscape, its literature, its art and the character of its people. Much the larger part of many letters exchanged between Edvard and Nina Grieg and Frederick Delius, usually conducted in German, has remained unpublished until today. Now, for the first time, the entire correspondence, with the fascinating insights which it offers into some extraordinary lives, has been brought together and arranged in chronological order and widely commented upon. Dr Lionel Carley, adviser and archivist to the Delius Trust and author of four books on Delius, has thus created a biographical double portrait. As well as revealing a wealth ofopinions and comments upon the music and manners of their contemporaries and a varied discussion of the many problems involved in the labours of composition, Grieg and Delius offer a singular number of glimpses into their deep, and occasionally troubled, emotional lives. Deliu

Early works by one of Russia's most powerful living poets, from 1953 to 1967.

A mountain girl, Maya, fights her fate in a traditional Indian family. Poetic and completely original.

At first this novel seems to be merely a fey portrait of a precious Dublin menage: Eddie and Maurice (lovers); Maria Keeley, once a famous Irish opera singer (now known as "The La"); and Jim Dillingham, an ex-priest who removed his collar when he was revealed to be the author of a pseudonymous book which argued against the notion of original sin. Eventually, however, this turns out to be a noble and dignified drama (perhaps too noble), in which the housemates will expose their needs and reach out to each other. Maurice is dying of leukemia - with Eddie unable to figure out how to live without him. 'The La" is a kleptomaniac. And Jim Dillingham's spiritual trial, prompted by the remarkable love shared by Eddie and Maurice during the latter's last days, is actually one of regaining the faith that he's so sure has been lost forever. Finally, then, in the novel's most harrowing scene, the dying Maurice will force Eddie to declare his hatred and disgust for a world that is so cruel as to leave him alone, without Maurice. And Dillingham will in all compassion reach out physically to Eddie - but when Eddie rejects him, the expriest will rejoin the clergy . . . or at least assume some of its soul-saving functions. This denouement, unfortunately, is all too distinctly predictable. And Irish novelist Broderick tends, obtrusively, to sermonize. But overall this is serious, unflashy fiction of nuance and responsibility - quietly stirring at least as often as it is sluggish or pious. (Kirkus Reviews)

The Investigation is a dramatic re-construction of the Frankfurt War Crimes trials, based on the actual evidence given. This testimony concerning Auschwitz and the atrocities which were enacted there has been edited and extracted by Peter Weiss into a dramatic document that relies solely and completely on the facts for its effectiveness. There is no artistic license, no manipulation of facts and figures, no rearrangement of events for theatrical effect. Nameless witnesses stand and recall their appalling memories of Auschwitz, allowing us to bear witness to their painful and painstaking search for truth and, ultimately, justice. What emerges is a chastening and purging documentary of deeply moving power. The Investigation was premiered on October 19th, 1965, in thirteen theatres in East and West Germany. At the same time, a produced reading was given under Peter Brook at the Aldwych Theatre in London. As with Peter Weiss' The Marot/Sade, productions have mushroomed throughout the world, effectively consolidating a remarkable literary reputation.