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When Constance Garnett's translations (1910–20) made Dostoevsky's novels accessible in England for the first time they introduced a disruptive and liberating literary force, and English novelists had to confront a new model and rival. The writers who are the focus of this study - Lawrence, Woolf, Bennett, Conrad, Forster, Galsworthy and James - either admired or feared Dostoevsky as a monster who might dissolve all literary and cultural distinctions. Though their responses differed greatly, these writers were unanimous in their inability to recognize Dostoevsky as a literary artist. They viewed him instead as a psychologist, a mystic, a prophet and, in the cases of Lawrence and Conrad, a hated rival who compelled creative response. This study constructs a map of English modernist novelists' misreadings of Dostoevsky, and in so doing it illuminates their aesthetic and cultural values and the nature of the modern English novel.

The first British writer to win the Booker Prize on two separate occasions - for Wolf Hall in 2009 and its sequel Bring Up the Bodies in 2012 - Hilary Mantel is one of the most popular and lauded nove

An introduction to the multidisciplinary field of hominin paleoecology for advanced undergraduate students and beginning graduate students, Early Hominin Paleoecology offers an up-to-date review of th