Set in Shropshire in the 1800s, it is alive with the many moods of Nature, benevolent and violent and the many moods -- equally benevolent and violent -- of the people making lives there. Prue Sarn is an unlikely heroine, born with a facial disfiguration which the Fates have dictated will deny her love. But Prue has strength far beyond her handicap, and this woman, suspected of witchcraft by her fellow townspeople, rises above them all through an all-encompassing sweetness of spirit. Precious Bane is also the story of Gideon, Prue's doomed brother, equally strong-willed, but with other motives. Determined to defeat the poverty of their farm, he devotes all his energies to making money. His only diversion from this ambition, he abandons her for the stronger drive of his money lust. And finally, it is the story of Kester Woodseaves, whose steady love for all created things leads him to resist people's cruelty toward nature and each other, and whose love for Prue Sarn enables him to discern her natural loveliness beneath her blighted appearance. Rebecca West, a contemporary of Mary Webb, called her, simply, "a genius," and G. K. Chesterton, another contemporary, asserted: "the light in the stories . . . is a light not shining on the things but through them." Critic Hilda Addison summed up Precious Bane: "The book opens with one of those simple sentences which haunt the mind until the curiosity has been satisfied . . . It strikes a note which never fails throughout; it opens with a beauty which is justified to the last sentence." When the book was first published in 1926 in America, the New York Times Book Review predicted: " on some bookshelves, we feel sure, Precious Bane will find almost a hallowed place."

    Among her characters are some of the most remarkable portraits in English literature: Dorothea Brooke, the heroine, idealistic but naive; Rosamond Vincy, beautiful and egoistic: Edward Casaubon, the dry-as-dust scholar: Tertius Lydgate, the brilliant but morally-flawed physician: the passionate artist Will Ladislaw: and Fred Vincey and Mary Garth, childhood sweethearts whose charming courtship is one of the many humorous elements in the novel's rich comic vein.

    She finds the passion her spirit craves in the love of a daring French pirate who is being hunted by all of Cornwall.Together, they embark upon a quest rife with danger and glory, one which bestows upon Dona the ultimate choice: sacrifice her lover to certain death or risk her own life to save him.

    Moving to the town of Christminster where he finds work as a stonemason, Jude meets and falls in love with his cousin Sue Bridehead, a sensitive, freethinking 'New Woman'.

    The family’s only regret is leaving their garden where, we can imagine, because it is September the dahlias are at their fiery best: as they flash past in the train they get a glimpse of their back garden, where ‘a shaft of sunlight fell through the side passage and lit up the clump of white asters by the apple tree.’ This was what the First World War soldiers longed for; this, he imagined, was what he was fighting for and would return to (as in fact Sherriff did).He had had the idea for his novel at Bognor Regis: watching the crowds go by, and wondering what their lives were like at home, he ‘began to feel the itch to take one of those families at random and build up an imaginary story of their annual holiday by the sea...I wanted to write about simple, uncomplicated people doing normal things.’

    When he remarries, a new step-sister enters Molly's quiet life – loveable, but worldly and troubling, Cynthia. The narrative traces the development of the two girls into womanhood within the gossiping and watchful society of Hollingford.Wives and Daughters is far more than a nostalgic evocation of village life; it offers an ironic critique of mid-Victorian society. 'No nineteenth-century novel contains a more devastating rejection than this of the Victorian male assumption of moral authority', writes Pam Morris in her introduction to this new edition, in which she explores the novel's main themes – the role of women, Darwinism and the concept of Englishness – and its literary and social context.

    Actual opening line of the novel is: "To J. Halford, Esq. Dear Halford, when we were together last..."This is the story of a woman's struggle for independence. Helen "Graham" has returned to Wildfell Hall in flight from a disastrous marriage. Exiled to the desolate moorland mansion, she adopts an assumed name and earns her living as a painter.

    Apparently 'a fairly ordinary tale about the destruction of a happy marriage' (Nina Bawden) yet 'it makes compulsive reading' in its description of an ordinary family struck by disaster when the husband, in a moment of weak, mid-life vanity, runs off with a French girl. Dorothy Whipple is a superb stylist, with a calm intelligence in the tradition of Elizabeth Gaskell.

    A lonely art historian absorbed in her research seizes the opportunity to share in the joys and pleasures of the lives of a glittering couple, only to find her hopes of companionship and happiness shattered.

    When her employment agency sends her to the wrong address, her life takes an unexpected turn. The alluring nightclub singer, Delysia LaFosse, becomes her new employer, and Miss Pettigrew encounters a kind of glamour that she had only met before at the movies. Over the course of a single day, both women are changed forever.

    This novel of an enclosed world invaded by public events also embodies in its characters the shifts in England's class structures at the beginning of the twentieth century.

    "It catches one up and unfolds its amazing story through the recountings of its several narrators, all of them enticing and singular." Wilkie Collins’s spellbinding tale of romance, theft, and murder inspired a hugely popular genre–the detective mystery. Hinging on the theft of an enormous diamond originally stolen from an Indian shrine, this riveting novel features the innovative Sergeant Cuff, the hilarious house steward Gabriel Betteridge, a lovesick housemaid, and a mysterious band of Indian jugglers.This Modern Library Paperback Classic is set from the definitive 1871 edition.

    Hilton's classic story of an English schoolmaster.Mr. Chipping, the classics master at Brookfield School since 1870, takes readers on a beguiling journey through the late 19th and early 20th centuries. Sometimes Chips, as he is affectionately known, is an old man who dreams by the fire; then he's a difficult young taskmaster schooling his students, or a middle-aged man encountering the lovely Katherine, whose "new woman" opinions work far-reaching changes in him. As succeeding generations of boys march onward through Chips' mind, Hilton's narrative remains masterful. He seamlessly interweaves a poignant love story with the jokes and eccentricities of English public school life, while also chronicling a new, uncertain world full of conflict and upheaval that extends far beyond the turrets of Brookfield.

    As she describes her heroine's entry into society, womanhood and, inevitably, love, Burney exposes the vulnerability of female innocence in an image-conscious and often cruel world where social snobbery and sexual aggression are played out in the public arenas of pleasure-gardens, theatre visits, and balls. But Evelina's innocence also makes her a shrewd commentator on the excesses and absurdities of manners and social ambitions—as well as attracting the attention of the eminently eligible Lord Orville. Evelina, comic and shrewd, is at once a guide to fashionable London, a satirical attack on the new consumerism, an investigation of women's position in the late eighteenth century, and a love story. The new introduction and full notes to this edition help make this richness all the more readily available to a modern reader.

    Yet he always seems to be troubled by disagreeable tradesmen, impertinent young office clerks and wayward friends, not to mention his devil-may-care son Lupin with his unsuitable choice of bride. Try as he might, he cannot avoid life's embarrassing mishaps. In the bumbling, absurd, yet ultimately endearing figure of Pooter, the Grossmiths created an immortal comic character and a superb satire on the snobberies of middle-class suburbia - one which also sends up late Victorian crazes for spiritualism and bicycling, as well as the fashion for publishing diaries by anybody and everybody.