"A perfect match of writer and subject: one of our most brilliant biographers takes on one of our greatest living playwrights--with his cooperation and access to a trove of hitherto unseen material. Tom Stoppard is a towering and beloved literary figure. Known for his dizzying narrative inventiveness and intense attention to language, he deftly deploys art, science, history, politics, and philosophy in works that span a remarkable spectrum of literary genres: theater, radio, film, TV, journalism, and fiction. His most acclaimed creations--Rosencrantz and Guildenstern are Dead, The Real Thing, Arcadia, The Coast of Utopia, Shakespeare in Love--remain as fresh and moving as when they dazzled their first audiences. Stoppard's life, too, is fascinating: born in Czechoslovakia, he escaped the Nazis with his mother and spent his early years in Singapore and India before arriving in England at age eight. Skipping university, he embarked on a brilliant career, becoming close friends over the years with an astonishing array of writers, actors, directors, musicians, and political figures, from Peter O'Toole, Harold Pinter, and Stephen Spielberg to Mick Jagger and Vaclav Havel. Having long described himself as a "bounced Czech," Stoppard was surprised to learn late in life of his Jewish family and the relatives he lost to the Holocaust, secrets his mother had kept from him. Lee's in-depth analysis seamlessly weaves Stoppard's life and work together into a vivid, insightful, and always riveting portrait of a remarkable man"--

Along with Satre, Camus and Orwell, Arthur Koestler helped to shape the ideas of today. Once a communist, he saw through Marxism and led the intellectual counter-attack that culminated in the fall of the Berlin Wall. His writings on science introduced millions to cutting-edge theories of evolution and the workings of the human mind. His speculations on human nature and the future of mankind in the atomic age stamped a generation that grew up in the shadow of the Bomb. As restless in his personal relationships as he was in politics, his violent affairs with women were legendary. His fascinating study is t he first to make use of Koestler's private papers and draws on previously secret documents held by the KGB and the FBI, exposing the depth of his involvement in the Communist Party and, later, his relations with the CIA. It also reveals the darker side to his nature, which led to the tragic dual suicide with his third wife, Cynthia, in 1983. David Cesarani has ensured Koestler's place in the pantheon of intellectual giants of the twentieth century as surely as the 'warts and all' approach is guaranteed to perpetuate the controversy that swirled around Koestler in his life and death.

One of the most imaginative figures to emerge from the science fiction field. Olaf Stapledon left an indelible mark on many other writers, from Arthur C. Clarke to Saul Bellows, but never won a mass following himself. This study by a renowned American literary critic provides a long-needed introduction to the life and work of the man Brian Aldiss called "the great classical example, the cold pitch of perfection as he turns scientific concepts into ontological epic prose poems, the ultimate science fiction writer." Probing the recurrent themes and images of Stapledon's novels -- which include Last and First Men, Odd John, Star Maker, and Sirius -- Leslie A. Fiedler brilliantly illuminates the complexity and richness that underlie Stapledon's fiction. As Fiedler demonstrates, Stapledon was very much a product of the 1930s, embracing a set of leftist attitudes that were common to many other "Oxbridge-educated sons of the English upper classes." But, as Fiedler further shows, there is much more to Stapleton's books than their superficial ideological content: his works are unique in their awe-inspiring vision of the breadth of the physical universe and the depths of the human psyche. "Certainly since encountering him," Fielder writes, "I have never been able to stare up at thee night sky with the same secure faith that either God exists or he does not; anymore than I have been able between sleeping and waking to be sure that the nighttime "I" preparing to dream is identical with or totally different from the conscious "I" about to surrender its dominion."