Böcker av G. K. Chesterton

Father Brown, full-time Catholic priest and part-time amateur detective, returns in this third collection of short stories.Unlike the first two collections, this time Father Brown is investigating alone; his sidekick, the former criminal Flambeau, is nowhere to be seen. Father Brown has to solve a murder (including his own!) in each story, and since several also appear to involve the supernatural, he has ample opportunity to elaborate on his thoughts concerning it. As with the first two collections, Chesterton is often as concerned with the moral of the story as with the mystery itself.Most of the stories were previously published in The Pall Mall Magazine, though one appeared in Cassell¿s Magazine and another was written specifically for this collection.

G. K. Chesterton was an English writer, journalist, philosopher, poet and lay theologian. He delighted in standing conventional wisdom on its head in order to expose what he considered to be the lack of substance in the ¿vague modern.¿In Heretics, he touches on a range of topics, including social Darwinism, eugenics, nihilism and atheism, while enumerating the flaws he finds in the work of his intellectual contemporaries such as Rudyard Kipling, Friedrich Nietzsche, George Bernard Shaw, and H. G. Wells.

" Scene: A plantation of thin young trees, in a misty and rainy twilight; some woodland blossom showing the patches on the earth between the stems.The Stranger is discovered, a cloaked figure with a pointed hood. His costume might belong to modern or any other time, and the conical hood is so drawn over the head that little can be seen of the face.A distant voice, a woman's, is heard, half-singing, half-chanting, unintelligible words. The cloaked figure raises its head and listens with interest. The song draws nearer and Patricia Carleon enters. She is dark and slight, and has a dreamy expression. Though she is artistically dressed, her hair is a little wild. She has a broken branch of some flowering tree in her hand. She does not notice the stranger, and though he has watched her with interest, makes no sign. Suddenly she perceives him and starts back.Patricia. Oh! Who are you?.."

G. K. Chesterton's beloved priest-detective, Father Brown, bids farewell in his final appearance in The Scandal of Father Brown (1935), the fifth and concluding collection of short stories. With his endearing and shambling demeanor, Father Brown masterfully untangles a diverse array of mysteries, often while playfully feigning bewilderment. Accompanied by a captivating and enchanting ensemble of characters, Father Brown embarks on a series of complicated and unpredictable adventures. The book commences with an improbable scandal involving Father Brown and the beautiful Hypatia Hard. Subsequently, Father Brown delves into solving perplexing murders, inexplicable disappearances, sinister poisonings, audacious thefts, and other illicit deeds. This Warbler Classics edition includes an extensive biographical timeline of Chesterton's life and work.

" One of the strangest examples of the degree to which ordinary life is undervalued is the example of popular literature, the vast mass of which we contentedly describe as vulgar. The boy's novelette may be ignorant in a literary sense, which is only like saying that a modern novel is ignorant in the chemical sense, or the economic sense, or the astronomical sense; but it is not vulgar intrinsicallyit is the actual centre of a million flaming imaginations. In former centuries the educated class ignored the ruck of vulgar literature. They ignored, and therefore did not, properly speaking, despise it. Simple ignorance and indifference does not inflate the character with pride. A man does not walk down the street giving a haughty twirl to his moustaches at the thought of his superiority to some variety of deep-sea fishes. The old scholars left the whole under-world of popular compositions in a similar darkness."

" It will hardly be denied that there is one lingering doubt in many, who recognise unavoidable self-defence in the instant parry of the English sword, and who have no great love for the sweeping sabre of Sadowa and Sedan. That doubt is the doubt whether Russia, as compared with Prussia, is sufficiently decent and democratic to be the ally of liberal and civilised powers. I take first, therefore, this matter of civilisation.It is vital in a discussion like this, that we should make sure we are going by meanings and not by mere words. It is not necessary in any argument to settle what a word means or ought to mean. But it is necessary in every argument to settle what we propose to mean by the word. So long as our opponent understands what is the thing of which we are talking, it does not matter to the argument whether the word is or is not the one he would have chosen. A soldier does not say "We were ordered to go to Mechlin; but I would rather go to Malines." He may discuss the etymology and archæology of the difference on the march; but the point is that he knows where to go. So long as we know what a given word is to mean in a given discussion, it does not even matter if it means something else in some other and quite distinct discussion. We have a perfect right to say that the width of a window comes to four feet; even if we instantly and cheerfully change the subject to the larger mammals; and say that an elephant has four feet. The identity of the words does not matter, because there is no doubt at all about the meanings; because nobody is likely to think of an elephant as four foot long, or of a window as having tusks and a curly trunk."

""The Man Who Was Thursday"" is a philosophical and allegorical novel written by G. K. Chesterton, first published in 1908. It follows the story of Gabriel Syme, a poet who is recruited by a secret anti-anarchist organization. Syme becomes a member of a Central European council of anarchists, each named after a day of the week, including the enigmatic Sunday, who holds a significant position within the organization.As Syme delves deeper into the world of anarchists, he finds himself embroiled in a complex and surreal series of events. The story explores themes of truth, deception, individualism, and the nature of human identity. It combines elements of mystery, thriller, and satire, with Chesterton's characteristic wit and intellectual depth.

Todo libro de investigación social moderna tiene una estructura de algún modo muy definida. Empieza por regla general con un análisis, con estadísticas, tablas de población, la disminución de la delincuencia entre los congregacionistas, el crecimiento de la histeria entre los policías y otros hechos igualmente comprobados; acaba con un capítulo que normalmente se llama «La solución». Suele deberse casi enteramente a este cuidadoso, sólido y científico método el hecho de que «La solución» nunca se encuentre, pues este esquema de preguntas y respuestas médicas es un disparate; el primer gran disparate de la sociología. Siempre debe declararse la enfermedad antes de que encontremos la cura. Pero es la entera definición y dignidad del hombre lo que, en cuestiones sociales, nos impone encontrar la cura antes de encontrar la enfermedad.

In the aptly titled treatise What's Wrong With the World, one of the twentieth century's most memorable and prolific writers takes on education, government, big business, feminism, and a host of other topics. A steadfast champion of the working man, family, and faith, Chesterton eloquently opposed materialism, snobbery, hypocrisy, and any adversary of freedom and simplicity in modern society. Culled from the thousands of essays he contributed to newspapers and periodicals over his lifetime, the critical works collected for this edition pulse with the author's unique brand of clever commentary. As readable and rewarding today as when they were written over a century ago, these pieces offer Chesterton's unparalleled analysis of contemporary ideals, his incisive critique of modern efficiency, and his humorous but heartfelt defense of the common man against trendsetting social assaults.

Harold March, el nuevo y renombrado periodista político, paseaba con aire decidido por una meseta en la que, desde hacía tiempo, se iban sucediendo por igual páramos y planicies, y cuyo horizonte se hallaba orlado por los lejanos bosques de la conocida propiedad de Torwood Park. Era un joven bien parecido, de pelo rubio y rizado y ojos claros, vestido con un traje de tweed. Inmerso en su feliz deambular a lo largo y ancho de aquel embriagador paisaje de libertad, Harold March era aún lo bastante joven como para tener bien presentes sus convicciones políticas y no simplemente para intentar olvidarlas a la menor ocasión. No en vano, su presencia en Torwood Park tenía precisamente un motivo político. Era el lugar de encuentro propuesto nada menos que por el Ministro de Hacienda, Sir Howard Horne, quien por entonces intentaba dar a conocer su denominado Presupuesto Socialista, el cual tenía la intención de exponer a cronista tan prometedor durante el transcurso de cierta entrevista que ambos tenían concertada. Harold March, por su parte, pertenecía a esa clase de hombres que saben todo lo que hay que saber sobre política, pero nada acerca de los políticos, además de ser poseedor de unos notables conocimientos sobre arte, letras, filosofía y cultura general (acerca, en fin, de casi todo excepto del mundo en el que vivía).

El barrio de Saffron Park ¿Parque de Azafrán¿ se extendía al poniente de Londres, rojo y desgarrado como una nube del crepúsculo. Todo él era de un ladrillo brillante; se destacaba sobre el cielo fantásticamente, y aun su pavimento resultaba de lo más caprichoso: obra de un constructor especulativo y algo artista, que daba a aquella arquitectura unas veces el nombre de «estilo Isabel» y otras el de «estilo reina Ana», acaso por figurarse que ambas reinas eran una misma. No sin razón se hablaba de este barrio como de una colonia artística, aunque no se sabe qué tendría precisamente de artístico. Pero si sus pretensiones de centro intelectual parecían algo infundadas, sus pretensiones de lugar agradable eran justificadísimas. El extranjero que contemplaba por vez primera aquel curioso montón de casas, no podía menos de preguntarse qué clase de gente vivía allí. Y si tenía la suerte de encontrarse con uno de los vecinos del barrio, su curiosidad no quedaba defraudada. El sitio no sólo era agradable, sino perfecto, siempre que se le considerase como un sueño, y no como una superchería. Y si sus moradores no eran «artistas», no por eso dejaba de ser artístico el conjunto. Aquel joven ¿los cabellos largos y castaños, la cara insolente¿ si no era un poeta, era ya un poema. Aquel anciano, aquel venerable charlatán de la barba blanca y enmarañada, del sombrero blanco y desgarbado, no sería un filósofo ciertamente, pero era todo un asunto de filosofía. Aquel científico sujeto ¿calva de cascarón de huevo, y el pescuezo muy flaco y largö claro es que no tenía derecho a los muchos humos que gastaba: no había logrado, por ejemplo, ningún descubrimiento biológico; pero ¿qué hallazgo biológico más singular que el de su interesante persona?

In Heretics, the topics Chesterton debates are as universal to the "vague moderns" of the 21st century as they were to those of the 20th. Focusing on "heretics" - those who pride themselves on their superiority to Christian views - Chesterton appraises prominent figures who fall into that category from the literary and art worlds. Luminaries such as Rudyard Kipling, George Bernard Shaw, H. G. Wells, and James McNeill Whistler come under the author's scrutiny, where they meet with equal measures of his characteristic wisdom and good humor.The topics he touches upon range from cosmology to anthropology to soteriology and he argues against French nihilism, German humanism, English utilitarianism, the syncretism of 'the vague modern', Social Darwinism, eugenics and the arrogance and misanthropy of the European intelligentsia. Together with Orthodoxy, this book is regarded as central to his corpus of moral theology.

"There are two ways of getting home; and one of them is to stay there. The other is to walk round the whole world till we come back to the same place." -G.K. ChestertonWhat, if anything, is it that makes the human uniquely human? This, in part, is the question that G.K. Chesterton starts with exploration of human history in this classic. Responding to the evolutionary materialism of his contemporary H.G. Wells, Chesterton in this work affirms human uniqueness and the unique message of the Christian faith.Writing at a time when social Darwinism was increasingly popular, Chesterton argued that the idea that society has been steadily progressing from a starting point of primitivism towards civilization, and of Jesus Christ as simply another charismatic figure, is completely inaccurate. Chesterton saw in Christianity a rare blending of philosophy and mythology, which he felt satisfies both the mind and the heart.Here, as so often in Chesterton, we sense a lived, awakened faith. All that he writes derives from a keen intellect guided by the heart's own knowledge.

Probably Chesterton's most popular book of essays. The thirty-nine short essays that make up Chesterton's delightful book. Among this collection: "A Piece of Chalk", where a drawing exercise turns into a lesson on the nature of truth, "Twelve Men", an explanation on why we have juries made of our peers and not professional jurors, "The Dragon's Grandmother", on why we should read fairy tales to our children along with many more endearing reflections.Chesterton looks at ordinary things and asks us to see how extraordinary they are-the contents of his pockets, the items in a railway station, pedestrians in the street. What appear to be trifles are actually tremendous, and he uses them as a springboard to expound on Christianity, the nuclear family, democracy, and the like with supreme clarity and wit.The essays gathered here are a testament to G.K. Chesterton's faith-not his faith in religion or a higher power, but in the ability to discover something wonderful in the objects, the experiences, and the people that cross our paths every single day. With his unique brand of humor and insight, he demonstrates how the commonplace adds enormous value to the landscape of daily life. Chesterton's commentaries first published nearly a century ago-remain fresh today.

The Ballad of the White Horse is one of the last great epic poems in the English language.In the dark times before a unified England, warring tribes roved and sparred for territory across the British Isles. The Ballad of the White Horse records the deeds and military accomplishments of Alfred the Great as he defeats the invading Danes at the Battle of Ethandun. The poem follows the battle-from the gathering of the chiefs to the last war cry-with a care to rhythm, sound, and language that makes it a magnificent work of art as well as a vital piece of English history. Chesterton incorporates brilliant imagination, atmosphere, moral concern, chronological continuity, wisdom and fancy. He makes his stanzas reverberate with sound, and hurries his readers into the heart of the battle.

In Orthodoxy, G.K. Chesterton gives a stirring defense of Christianity. Chesterton fought against the reductionist materialism with laughter, joy, and gratitude for the beauty of the world God has given us. We usually think of orthodoxy and the tenets of the Christian faith as dry, arbitrary, and perhaps even nonsensical. Chesterton shows that orthodoxy is beautiful and fits perfectly the strange, quirky world. For those of us who do not pay any attention to the strangeness of the world, this book is essential reading. The world may not have fairies, but it does have the sun, rivers, trees, and the sky, and they are as strange as anything we will find in a fairy tale. Read this book, then go outside and marvel.