In 1913, the Viennese aristocracy is gathering to celebrate the 17th jubilee of the accession of Emperor Franz Josef, even as the Austro-Hungarian Empire is collapsing and the rest of Vienna is showing signs of rebellion. At the centre of this social labyrinth is Ulrich: a veteran, a seducer and a scientist, yet also a man 'without qualities' and therefore a brilliant and detached observer of his changing world.

The Arthurian Romances by Chrétien de Troyes form the wellspring of the legend of King Arthur and the Knights of the Round Table. Stories of knightly valour in the Welsh Marches had existed before the 12th century, but it was the magnificent poetry and imagination of Chrétien, the 12th century French poet and trouvère, which brought alive the great characters of Arthur, his wife Guinevere, Lancelot and others.

First published in 1621, and hardly ever out of print since, it is a huge, varied, idiosyncratic, entertaining and learned survey of the experience of melancholy, seen from just about every possible angle that could be imagined. The Anatomy of Melancholy, presented here with all the original quotations in English, is, at last, available on audiobook in its entirety.

Riotous, sexy and groundbreaking, Henry Fielding's Joseph Andrews: The History of the Adventures of Joseph Andrews and His Friend Mr. Abraham Adams, published in 1742, was one of the first English novels. Fielding was melding and parodying the two major forces battling for control of the fiction market at the time - the mock heroic, neoclassical tradition as practiced by Pope and Swift and the popular and populist fiction of the new novelists such as Defoe and Richardson.

The Good Soldier Švejk, written shortly after the First World War, is one of the great antiwar satires - and one of the funniest books of the 20th (or any) century. In creating his eponymous hero, Jaroslav Hašek produced an unforgettable character who charms and infuriates and bamboozles his way through the conflagration that tore through the heart of Europe, upending empires and changing social history. It is the closing period of the Austro-Hungarian Empire. The assassination at Sarajevo has just occurred and armies are on the march.

Justine is the first volume in the Alexandria Quartet, four interlinked novels set in the sensuous, hot environment of Alexandria just before the Second World War. Within this polyglot setting of richly idiosyncratic characters is Justine, wild and intense, wife to the wealthy businessman Nessim, a Mari complaisant. Her emotional and sexual wildness fuels a highly charged atmosphere.

In Balthazar, the second volume in Durrell’s Alexandria Quartet, the story and the characters come more clearly into focus. Darley, the reflective Englishman, receives from Balthazar, the pathologist, a mass of notes that attempt to explain what really happened between the tempestuous Justine, her husband, Nessim, Clea the artist, and Pursewarden the writer; new figures emerge and play key roles.

Here is Virginia Woolf at her most entertaining and informative, relishing the portraits and insights she presents as she surveys a varied collection of individuals in English society and English literature. In The Common Reader Volume 2, (published in 1932), the essay lives on and even more so in this sensitive and engaging book by Georgina Sutton.

This is Virginia Woolf’s first collection of essays, published in 1925. In them, she attempts to see literature from the point of view of the ‘common reader’ - someone whom she, with Dr Johnson, distinguished from the critic and the scholar. She read, and wrote, as an outsider: a woman set to school in her father’s library, denied the educational privileges of her male siblings - and with no fixed view of what constitutes ‘English literature’. What she produced is an eccentric and unofficial literary and social history from the 14th to the 20th centuries.

Thomas Mann's last great novel, first published in 1947 and now newly rendered into English by acclaimed translator John E. Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul—and the ability to love his fellow man.