Margaret Hubbard

The white house, facing the wrong way, stands high on a hill. For 150 years it has been lived in by an array of characters. Two old sisters who learned to read in exchange for teaching sewing, a little girl who explored a magical path, a young man who went to the First World War and a hard bitten submariner who came back from the second, a young engineer who went to America for two years and stayed there for over forty, but for whom this house was always home. Beth begins the story in the present day, and then time slides into the early years of the house in the mid-nineteenth century. Family by family they come alive, each facing the challenges of their time. Beth's life has been very different. What does she have in common with the people who lived here before her? Much more than you might expect. Watching and protecting those who love it is the house; always white, sometimes with a grey trim, sometimes blue. It listens, and occasionally it nudges characters into action. Its garden stretches towards the river; a world of potatoes and roses, as varied as the people who cultivated it. The story goes beyond the house into the community, and the national and international events which touch the lives of those who have lived there. And then there is the marmalade, from an old recipe handed down one generation to the next. Its smells and its colours belong to Spain, but lives, surrounded by books, in a cellar where a silver jeweller works her craft.'A Cellarful of Marmalade' begins in the present, goes back into the past, and in returning to the starting point looks at the opportunities and the challenges, the hopes and the fears of different generations. The old walls listened to their stories and shared their dreams. This is a large-print edition.

The white house, facing the wrong way, stands high on a hill. For 150 years it has been lived in by an array of characters. Two old sisters who learned to read in exchange for teaching sewing, a little girl who explored a magical path, a young man who went to the First World War and a hard bitten submariner who came back from the second, a young engineer who went to America for two years and stayed there for over forty, but for whom this house was always home. Beth begins the story in the present day, and then time slides into the early years of the house in the mid-nineteenth century. Family by family they come alive, each facing the challenges of their time. Beth's life has been very different. What does she have in common with the people who lived here before her? Much more than you might expect. Watching and protecting those who love it is the house; always white, sometimes with a grey trim, sometimes blue. It listens, and occasionally it nudges characters into action. Its garden stretches towards the river; a world of potatoes and roses, as varied as the people who cultivated it. The story goes beyond the house into the community, and the national and international events which touch the lives of those who have lived there. And then there is the marmalade, from an old recipe handed down one generation to the next. Its smells and its colours belong to Spain, but lives, surrounded by books, in a cellar where a silver jeweller works her craft. This book begins in the present, goes back into the past, and in returning to the starting point looks at the opportunities and the challenges, the hopes and the fears of different generations. The old walls listened to their stories and shared their dreams.

Propertius' four books of love-elegies (c. 32-12 BC) were produced during the heyday of Augustan literature. His poetry has been noted by modern critics for its striking forms of expression, sometimes tortured syntax, sudden transitions and abstruse allusiveness. Much of this "difficulty", Hubbard argues, may stem as much from the many impenetrable corruptions in our surviving, comparatively late manuscripts as from Propertius himself. For ancient critics, in contrast with the modern, read him as polished, elegant and amusing. This book presents a Propertius along these latter lines. The four central chapters of this volume deal broadly with the four books, but at the same time raise general issues, such as the unity of Propertius' oeuvre, or his self-acknowledged indebtedness to Callimachus. Throughout Hubbard analyses in detail both extended and shorter passages which are always given in both the original and in a no-nonsense prose translation. There emerges a reading of the poet which renders him immediately accessible to student and general reader, while providing insights equally challenging for specialists.

The first three books of Horace's Odes were issued together, apparently in the latter part of 23 BC. The second book, however, has a coherence of its own in terms of subject matter, tone of voice, and arrangement. In particular there is a predominance of poems concerned with philosophy, with conduct, and with friendship. This commentary provides the reader with the background knowledge of conventional forms and topics needed to appreciate fully every aspect of the poems. In particular word-play, literary parallels, and stylistic nuances are highlighted and discussed. The commentary may be used in conjunction with the Oxford Classical Text of Horace edited by E. C. Wickham.

Horace's Odes are among the most popular, and the most misunderstood, of ancient writings. The present work is written in the belief that they are learned poems, which demand some knowledge of conventional forms and topics. Each ode is provided with an introduction which sets it against its Greek and Roman literary background. This edition may be used in conjunction with the Oxford Classical Text edited by E. C. Wickham. The commentary includes a large number of parallel passages, chosen to show how Horace plays new variations on old themes; it is hoped that these may prove useful to commentators on other ancient poets. The book also contains sections on chronology and metre, and a select bibliography is attached to each ode.