The tale of Dorian Gray’s moral disintegration caused a scandal when it first appeared in 1890, but though Wilde was attacked for the novel’s corrupting influence, he responded that there is, in fact, “a terrible moral in Dorian Gray.” Just a few years later, the book and the aesthetic/moral dilemma it presented became issues in the trials occasioned by Wilde’s homosexual liaisons, which resulted in his imprisonment. Of Dorian Gray’s relationship to autobiography, Wilde noted in a letter, “Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps.

    The book brilliantly probes the psychodynamics of alienation, obsession, and self-destruction, painting an unforgettable portrait of a man driven by forces beyond his control to the edge of the abyss. Hamsun influenced many of the major 20th-century writers who followed him, including Kafka, Joyce and Henry Miller. Required reading in world literature courses, the highly influential, landmark novel will also find a wide audience among lovers of books that probe the "unexplored crannies in the human soul" (George Egerton).

    The brilliant Irishman descended on Oxford in 1874 and published his one and only novel in 1890. It was a commission from Lippincott's Magazine, published in serial form. Wilde's career - as short story writer, playwright and occasional journalist - reached its zenith in the following two years; he was a crucial and imperious figure in the fin de siecle scene that started in the 1880s. During those years, this paradoxical philosopher of the complex relationship between art, human nature and truth walked a tight-rope between fame and scandal... In his Francophile The Decay of Lying, written in 1889, and in many ways foreshadowing Dorian Gray, Wilde warned those readers who might be tempted to recognise him in the characters of Dorian, Wotton or Hallward that art is a veil, rather than a mirror. more than art imitates life: Wilde recounts the anecdote of a certain Hyde coming across a horrific scene from Stevenson's novel in a squalid London street. He calls it accidental imitation, which sheds an ironic light on the last years of his own life. In 1891, Wilde met the young Alfred Douglas, son of the Marquis of Queensberry. Douglas hated his father; the father despised Douglas and Wilde. Their fierce and passionate love for each other, recounted in Wilde's autobiographical work De Profundis, would effectively push the poet to social suicide, prison, exile and premature death in a Paris hotel. This accidental imitation casts a retrospective spotlight - if any is needed - on the quasi-gothic scenes of The Picture of Dorian Gray.

    The Belgian priest's extraordinary devotion to the lepers of Molokai moved Stevenson to compose this impassioned answer to the despicable charges hurled against Damien. The Letter holds the reader with the incisive beauty of its diction, with its irony, its mockery, and its sarcasm. Measured in words, it is brief; but gauged in terms of the scene it evokes, the truths it states, the man it portrays, it is long. Robert Louis Stevenson wrote it with the same clear and accurate insight into human motives and the same depth of sympathy found in all of his great novels and essays. Many books and pamphlets have been written about Father Damien, but this Letter is surely the most profoundly moving work about his courageous, dedicated, inspiring life." -Cobble Hill Press, Inc. New York.

    The world's best-loved children's stories set in large type for easy reading.-- Over 100 illustrations in each book

    The Princess Casamassima was published in 1886, a year that saw riots of the unemployed in London. It is a political novel in which anarchists and terrorists conspire within a fin de siècle world of opulence and glamour. The action ranges from palaces to slums, from London to Paris to Venice and back again. The novel’s hero, Hyacinth Robinson, is torn between his loyalty to revolutionary causes—for which he is about to commit an act of violence that may cost him his life—and his taste for the artistic side of aristocratic culture, represented in part by the beautiful, wealthy, compassionate, and yet deceptive Princess of the title. Possibly to save Hyacinth, she becomes romantically involved with his fellow conspirator Paul Muniment, a calculating political operative, idealistic and treacherous by turns. Assassination plots, sexual betrayals, murder, suicide, and the fierce play of conflicting loyalties—all these bring into play an intricate abundance of attendant figures, like the rakish Captain Sholto and the appealing but faithless Millicent Henning.The Reverberator (1888) is a swiftly paced comic novel named after a newspaper that caters to the American public’s appetite for the “society news of every quarter of the globe.” Francie Dosson, the free-spirited daughter of a wealthy Boston family, innocently provides gossip to George Flack, a “young commercial American” who writes for the paper. His published report imperils her engagement to Gaston Probert, whose family is outraged by the airing of its secrets. James portrays the collision of easily shocked Old World propriety and self-assured New World naiveté with benevolent affection and spirited delight.The Tragic Muse (1890) explores with a topical realism not usually found in James the conflicts between art and politics, society and the Bohemian life. It does so with dazzling glimpses of Parisian theater and of London aestheticism, as articulated by the flamboyant and idealistic Gabriel Nash. At its center are four superbly drawn characters. The fascinating Miriam Rooth is an actress of overwhelming egotistic vitality and dedication to her art. Her suitor, the diplomat Peter Sherringham, is impassioned by her theatrical talent even while asking her to sacrifice it for his career. Nick Dormer faces a similar predicament in his engagement to the rich Julia Dallow, who wants him to forgo his painting so as to make use of her fortune in pursuit of his career in Parliament. Full of witty talk and vividly dramatic scenes, the novel includes a vast array of characters such as the impressive political matriarch Lady Dormer. Perhaps more than any of his novels, it attests to James’s recognition of the costs of any dedication, like his own, to creative achievement.