Lovecraft's 'the Call of Cthulhu' is a harrowing tale of the weakness of the human mind when confronted by powers and intelligences from beyond our world.

    Adultery, death, and the spectacle of female recrimination and suffering are the elements that combine to make The Doctor's Wife a classic women's 'sensation' novel. Yet it is also Braddon's most self-consciously literary work and her rewriting of Madame Bovary. Like Emma Bovary, Braddon's heroine, Isabel Gilbert, is trapped in a marriage to a man incapable of understanding her imaginative life. But Braddon's novel differs vastly from Flaubert's in the nature and consequences of Isabel's 'affair'.

    To get home, she must find the wonderful wizard in the Emerald City of Oz. On the way she meets the Scarecrow, the Tin Woodman and the Cowardly Lion. But the Wicked Witch of the West has her own plans for the new arrival... will Dorothy ever see Kansas again?

    Written as a diary, Myra Breckinridge, someone determined not to be possessed by any man, recounts her day as she lives it out in the Hollywood of the '60s. Feminism, transsexuality, and a host of cinematic jokes abound.

    Castle Richmond was written between 4 August 1859 and 31 March 1860, and was published in three volumes on 10 May 1860. It was his tenth novel. Trollope signed the contract for the novel on 2 August 1859. He received �600, �200 more than the payment for his previous novel, The Bertrams, reflecting his growing popular successCastle Richmond is set in southwestern Ireland at beginning of the Irish famine. Castle Richmond is situated on the banks of the Blackwater River in County Cork. Trollope's work in Ireland from 1841 to 1859 had given him an extensive knowledge of the island, and Richard Mullen has written that "All the principal strands of his life were formed in Ireland

    Considered at the time to be immature, it was a failure. Since that time it has come to be considered one of the earliest American realistic novels. Maggie is the story of a pretty child of the Bowery which is written with the same intensity and vivid scenes of his masterpiece -- The Red Badge of Courage. In her short life, Maggie "blossomed in a mud puddle", was driven to prostitution, and died by her own hand while still a teenager.Crane, who worked as a free lance reporter, was in many ways addicted to the low life of the cities. He died at the age of 29.

    Other great kings and paladins are lost in the dim shadows oflong-past centuries, but Arthur still reigns in Camelot and his knightsstill ride forth to seek the Grail. "No little thing shall be The gentle music of the bygone years, Long past to us with all their hopes and fears."So wrote the poet William Morris in _The Earthly Paradise_. And surelyit is no small debt of gratitude we owe the troubadours and chroniclersand poets who through many centuries have sung of Arthur and hischampions, each adding to the song the gifts of his own imagination, sobuilding from simple folk-tales one of the most magnificent and movingstories in all literature.This debt perhaps we owe in greatest measure to three men; to Chrétiende Troies, a Frenchman, who in the twelfth century put many of the oldArthurian legends into verse; to Sir Thomas Malory, who first wrote outmost of the stories in English prose, and whose book, the _MorteDarthur_, was printed by William Caxton, the first English printer, in1485; and to Alfred, Lord Tennyson, who in his series of poems entitledthe _Idylls of the King_ retold the legends in new and beautiful guisein the nineteenth century.The history of Arthur is so shrouded in the mists of early England thatit is difficult to tell exactly who and what he was. There probably wasan actual Arthur, who lived in the island of Britain in the sixthcentury, but probably he was not a king nor even a prince. It seems mostlikely that he was a chieftain who led his countrymen to victory againstthe invading English about the year 500. So proud were his countrymen ofhis victories that they began to invent imaginary stories of his prowessto add to the fame of their hero, just as among all peoples legends soonspring up about the name of a great leader. As each man told the featsof Arthur he contributed those details that appealed most to his ownfancy and each was apt to think of the hero as a man of his own time,dressing and speaking and living as his own kings and princes did, withthe result that when we come to the twelfth century we find Geoffrey ofMonmouth, in his _History of the Kings of Britain_, describing Arthurno longer as a half-barbarous Briton, wearing rude armor, his arms andlegs bare, but instead as a most Christian king, the flower of mediævalchivalry, decked out in all the gorgeous trappings of a knight of theCrusades.As the story of Arthur grew it attracted to itself popular legends ofall kinds. Its roots were in Britain and the chief threads in its fabricremained British-Celtic. The next most important threads were those thatwere added by the Celtic chroniclers of Ireland. Then stories that werenot Celtic at all were woven into the legend, some from Germanicsources, which the Saxons or the descendants of the Franks may havecontributed, and others that came from the Orient, which may have beenbrought back from the East by men returning from the Crusades. And if itwas the Celts who gave us the most of the material for the stories ofArthur it was the French poets who first wrote out the stories and gavethem enduring form.It was the Frenchman, Chrétien de Troies, who lived at the courts ofChampagne and of Flanders, who put the old legends into verse for thepleasure of the noble lords and ladies that were his patrons. Hecomposed six Arthurian poems. The first, which was written about 1160 orearlier, related the story of Tristram. The next was called _Érec etÉnide_, and told some of the adventures that were later used by Tennysonin his _Geraint and Enid_. The third was _Cligès_, a poem that haslittle to do with the stories of Arthur and his knights as we havethem. Next came the _Conte de la Charrette_, or _Le Chevalier de laCharrette_, which set forth the love of Lancelot and Guinevere. Thenfollowed _Yvain_, or _Le Chevalier au Lion_, and finally came_Perceval_, or _Le Conte du Graal_, which gives the first account of theHoly Grail.

    These are the elements of the Hampstead Mystery that Detective Inspector Chippenfield of Scotland Yard must unravel with the assistance of the ambitious Detective Rolfe. But will he be able to sort out the tangled threads of this case and arrest the culprit before he is upstaged by the celebrated gentleman detective Crewe. Follow the details of this amazing case at it plays out across Hampstead, London and Scotland until it reaches a stunning conclusion in the courts of the Old Bailey.

    As Fiction. O. Matthiessen pointed out, “in these loosely connected sketches, she has acquired a structure independent of plot. Her scaffolding is simply the unity of her vision.” Her vision was of a gentle and generous people on a rugged and dangerous coast, of New England character and “characters” limned in colors of high summer and blue skies. Here, too, you will meet the people of Dunnet Landing; the women, who are probably the most unforgettable characters of her book; and Elijah Tilley (among the very few men in Jewett’s cast) who, after the death of his wife, learns the skills of husband and wife, of farm and sea. The black-and-white pencil drawings by Douglas Alvord are nothing short of spectacular. Closely observed and carefully rendered, they possess all of the haunting serenity of Jewett’s landscapes. Faithfully reproduced and printed to the highest standards, this is destined to become a standard gift and reading book for everyone fascinated by New England, the rich history of its rockbound coast, and this magical author.

    Scottish novelist and poet Sir Walter Scott (1771 - 1832), a literary hero of his native land, turned to writing only when his law practice and printing business foundered. Among his most beloved works are Rob Roy (1818), and Ivanhoe (1820). American writer William Vaughn Moody (1869 - 1910) served as co-editor of the Harvard Monthly and assistant professor of English at the University of Chicago. He authored several verse plays, books of poetry, and histories and criticisms of English literature.

    In Boston, a renowned hand surgeon awaits the opportunity to perform the nation’s first hand transplant; meanwhile, in the distracting aftermath of an acrimonious divorce, the surgeon is seduced by his housekeeper. A married woman in Wisconsin wants to give the one-handed reporter her husband’s left hand – that is, after her husband dies. But the husband is alive, relatively young, and healthy.

    . . a hidden cache of coded clues . . . a story written by a phantom author . . . an unsolved murder in a gritty urban park-- all collide memorably in Emily Arsenault's magnificent debut, at once a teasing literary puzzle, an ingenious suspense novel, and an exploration of definitions: of words, of who we are, and of the stories we choose to define us. In the maze of cubicles at Samuelson Company, editors toil away in silence, studying the English language, poring over new expressions and freshly coined words-- all in preparation for the next new edition of the Samuelson Dictionary. Among them is editorial assistant Billy Webb, just out of college, struggling to stay awake and appear competent. But there are a few distractions. His intriguing coworker Mona Minot may or may not be flirting with him. And he's starting to sense something suspicious going on beneath this company's academic facade.Mona has just made a startling discovery: a trove of puzzling citations, all taken from the same book, The Broken Teaglass. Billy and Mona soon learn that no such book exists. And the quotations from it are far too long, twisting, and bizarre for any dictionary. They read like a confessional, coyly hinting at a hidden identity, a secret liaison, a crime. As Billy and Mona ransack the office files, a chilling story begins to emerge: a story about a lonely young woman, a long-unsolved mystery, a moment of shattering violence. And as they piece together its fragments, the puzzle begins to take on bigger personal meaning for both of them, compelling them to redefine their notions of themselves and each other.Charged with wit and intelligence, set against a sweetly cautious love story, The Broken Teaglass is a tale that will delight lovers of words, lovers of mysteries, and fans of smart, funny, brilliantly inventive fiction.

    Thompson, The Rum Diary is a tangled love story of jealousy, treachery, and violent alcoholic lust in the Caribbean boomtown that was San Juan, Puerto Rico, in the late 1950s. The narrator, freelance journalist Paul Kemp, irresistibly drawn to a sexy, mysterious woman, is soon thrust into a world where corruption and get-rich-quick schemes rule and anything (including murder) is permissible.

    Mark Bradley in London she was only eighteen. She and her mother were both attracted by "Brad," and the situation thus engendered proved fateful, since it led to Brad's association with a great Viennese physicist and to his involvement in a tragic drama. But there was another drama, larger and less personal, that drew him into its widening orbit, a drama that became a secret and later an obsession.Probing yet protective, Jane's love makes the strong thread in a pattern of deeply moving and significant events—strange events, too—and yet, to quote Daniel Webster, there is often "nothing so strange" as the truth.Although the earlier scenes of Nothing So Strange are laid abroad, its outlook is American and its climax could only have taken place in America. It is as exciting and as human as anything Mr. Hilton has ever written.