Catholic writers have made a rich contribution to British fiction, despite their minority status. Evelyn Waugh, Graham Greene, and Muriel Spark are well-known examples, but there are many other significant novelists whose work has a Catholic aspect. This is the first book to survey the whole range of this material and examine whether valid generalizations can be made about it. In charting such fiction from its development in the Victorian period through to the work of contemporaries such as David Lodge, the author analyses its complex relationships with changes in British society and the international Church. There is more than one way of being a Catholic, as Woodman shows, but he also demosntrates that many of these writers share common themes and a distinctive perspective. They often wish in particular to use their religion as a weapon against what they portray as a complacent Protestant or secular society. Their consciousness of writing in the midst of such a society gives a special edge to their treatments of the perennial Catholic themes of suffering, sin and sex. It also has implications for literary form and relates to what has been seen as the extremist mode of Catholic fiction. The final question that Woodman puts is whether the changes in the Church since the Second Vatican Council must inevitably lead to the loss of this distinctive Catholic contribution to the novel.

The great nineteenth-century Portuguese author José Maria Eça de Queirós (1845-1900) has long been known for his novels, especially The Crime of Father Amaro (1880) and The Maias (1888). However, he also wrote short stories, and a number of them, having stood the test of time, are now regarded as masterpieces. Although there is no question that Eça owes the lion’s share of his reputation to his long fiction, the tales in this collection tell us that we are reading the work of a writer in full control of both genres. The eleven selections range widely in theme and length and, except for “The Catastrophe”(which was published posthumously), are arranged in order of the year of publication. “The Falling Snow” and “Master Devil” contain elements of both the fantastic and realistic, a number of which call to mind Edgar Allan Poe, a writer whom Eça read and greatly admired. The power of love becomes the obsession of love in “The Peculiarities of a Blonde Girl” and “José Matias,” two of the stories that stand at the pinnacle of Eça’s reputation as a short story writer. “Civilization” will speak to nostalgia for a rustic life, while “Perfection” searches, through Ulysses and a special goddess, into a different kind of life, one without blemish. Other tales explore the nature of sacrifice (“The Wet Nurse”), greed and betrayal (“The Treasure”), jealousy and vengeance (“The Dead Man”), and faith in a young rabbi named Jesus (“The Gentle Miracle”). No one knows why Eça withheld publication of “The Catastrophe,” but this powerful story engages us with its naked intensity, its aroused passion, and its blunt honesty, for it amounts to a ringing endorsement of the exalted meaning of patriotism.

At the turn of the twentieth century, two young women find themselves in Stanyslaviv under Austro-Hungarian rule. Adela, the daughter of a wealthy German doctor, and Stefania, her orphan Ukrainian servant, could not be further apart socially and economically; but their fates intertwine in the cityscape of the late Habsburg Empire, densely inhabited by Ukrainians, Poles, Germans, and Jews for centuries. The intricate relationship between the two women—told by an unreliable narrator—unfolds against the backdrop of a rich ethnic, social, and cultural fabric that seems almost implausible to today’s reader who knows it to be irretrievably lost.

In Felix Austria, Sophia Andrukhovych uses techniques from Gothic literature to reconstruct with astonishing detail the atmosphere and the everyday life of Stanyslaviv. As if foreshadowing the wars to come and their devastation, the city’s population delights in earthly pleasures: extravagant dinner parties and receptions, mass celebrations, exotic theater performances, art exhibitions, glitzy shows of stars and starlets from near and far, local rituals of soap making, competition among fashionable dames, and much more. Felix Austria is a must-read for all those who seek to understand Ukraine’s deep ties with Western Europe and its struggle to break away from Russia’s orbit.

Regina Rheda is a contemporary award-winning Brazilian writer whose original voice and style have won her many admirers. First World Third Class and Other Tales of the Global Mix presents some of her finest and most representative work to an English-speaking readership. Stories from the Copan Building consists of eight tales set in a famous residential building in São Paulo. The stories, like the apartment complex, are a microcosm of modern-day urban Brazil. They are witty, consistently caustic, and never predictable.

Also in this volume is the poignant and often hilarious novel First World Third Class. It depicts young middle-class professionals and artists who, as opportunities in Brazil diminished, opted to leave their country, even if it meant taking menial jobs abroad. At the center of the narrative is Rita, a thirty-year-old aspiring filmmaker who migrates to England, and then Italy. She looks for work and love in all the wrong places, moving from city to city and from bed to bed.

The last three stories in this collection also happen to be among the author's most recent. "The Enchanted Princess" is an ironic title for a postfeminist tale of a South American woman being wooed to marry an old-world gentleman who promises to take care of her every need. "The Sanctuary" concerns the living conditions of immigrant workers and farm animals. Equally piquant in nature, "The Front" deals with ecology, labor environments, and gender politics.

The Forest Song represents the crowning achievement of Lesia Ukrainka’s mature period and is a uniquely powerful poetic text. A play in three acts, it seemingly breaks with her intellectually charged social and cultural themes, which range from feminism and the deconstruction of patriarchy to the workings of colonialism, even in antiquity. Here, the author instead presents a symbolist meditation on the interaction of humanity and nature set in a world of primal forces and pure feelings as seen through childhood memories and the re-creation of local Volhynian folklore. The play unfolds in spirited dialogues between characters from Ukrainian mythology and people of the land: Old Man River, the Nymph, two water spirits, Uncle Leo, Luke, Sylph, and the peasant woman Kylyna and her mother-in-law. The Forest Song is a testament to the power of love to overcome differences and bring loved ones back from the dead.