The essay is a polemical piece that attempts to go beyond Arnold Bennett’s thesis that character is the essence of novel writing, and his too easy conclusion as to why the young writers have failed to create credible characters. Woolf chooses the year 1910 as the year in which a discernible shift in human relations takes place. This point is important to her because to understand what “real” character is, one has to understand the large context—the British society. In this light, she chooses Mrs. Brown as a metaphor for human nature. Her analysis highlights the shortcomings of previous generations of writers; in particular the Edwardians and the Georgians, concluding that they also failed to create lasting characters. In this regard, history seems to be on Virginia Woolf’s side: while everyone remembers Mrs. Dalloway, no one remembers a single character created by either the Edwardians or the Georgians. What readers remember instead are the physical settings they created with old tools. To facilitate the flow of ideas, this version of the essay includes section headings and bold typography. The essay is presented, otherwise, as it was first published.

    Here Auerbach, thought by many to be the greatest of twentieth-century scholar-critics, makes the seemingly paradoxical claim that it is in the poetry of Dante, supreme among religious poets, and above all in the stanzas of his Divine Comedy, that the secular world of the modern novel first took imaginative form. Auerbach’s study of Dante, a precursor and necessary complement to Mimesis, his magisterial overview of realism in Western literature, illuminates both the overall structure and the individual detail of Dante’s work, showing it to be an extraordinary synthesis of the sensuous and the conceptual, the particular and the universal, that redefined notions of human character and fate and opened the way into modernity.CONTENTSI. Historical Introduction; The Idea of Man in LiteratureII. Dante's Early PoetryIII. The Subject of the "Comedy"IV. The Structure of the "Comedy"V. The PresentationVI. The Survival and Transformation of Dante's Vision of RealityNotesIndex

    This symposium was published in Paris ten years before Joyce's work in progress was completed and the contributors were all friends or acquaintances of the author: Samuel Beckett, Marcel Brion, Frank Budgen, Stuart Gilbert, Eugene Jolas, Victor Llona, Robert McAlmon, Thomas McGreevy, Elliot Paul, John Rodker, Robert Sage and William Carlos Williams. There are also "Letters of Protest" from G.V.L. Slingsby and Vladimir Dixon.

    Gilfillan was an anomaly. An Ivy League scholar with a broad knowledge of classical literature and a talent for writing, he nonetheless chose to herd sheep from 1916 to 1934 in a lonely, isolated part of the West. Out of this strange juxtaposition of expertise and experience, Gilfillan produced this classic narrative of American sheepherding.First published in 1929, Sheep: Life on the South Dakota Range provides a personal, informative, and entertaining account of the western sheepherder. From blizzards to predatory wolves, from grass-crazed sheep in the springtime to penny-pinching bosses, Gilfillan misses nothing. He also volunteers his trenchant opinions on modern women, cowboys, and homesteaders—many of whom were his neighbors.In his introduction, Richard W. Etulain, director of the Center for the American West at the University of New Mexico, describes Gilfillan’s life and discusses the appeal of the wide-open West to an urban-industrial nation.