A child spiritually oppressed, a school run on shallow and mercenary principles, a brutish schoolmistress, a quiet observer of the injustice and cruelty--it contained the same preoccupations which elsewhere had called forth her most passionate and dramatic writing. Another Lady has now at last fulfilled the promise of that novel. Her lively powers of invention have worked the unfolding mystery of Charlotte Brontë's two opening chapters into an exciting and poignant story. The characters grow in vitality and complexity while remaining true in spirit, tone and style to the original conception. The wanton havoc wrought by Emma in the life of Mrs Chalfont, the narrator, is not the only proof of her ruthlessness; she plays a part, too, in the sufferings of the abandoned child, Martina. The affection which grows between Mrs Chalfont and Martina out of their mutual distress illumines this story, and Emma herself, with her inexplicable motives, her incomprehensible anger and her darkness of soul, develops into a character of whom Charlotte Brontë would have been proud.

    Yet when Legrand's conviction fails to waiver, they set off on a bizarre journey, accompanied by Jupiter, Legrand's loyal and equally skeptical servant. What follows is a strange tale of coded messages, hidden treasure, and uncanny prophecy that will both enthrall and baffle even the most perceptive readers.Part horror story, part detective fiction, The Gold Bug is an ingenious tale bearing all the hallmarks of Poe's extraordinary narrative skill. It is presented here with The Sphinx, a similarly themed and equally disturbing short story. Wonderfully versatile as an author and best known for his tales of terror and the macabre, Edgar Allan Poe (1809–1849) holds a venerable place in the history of American literature.This edition contains the following short stories:- The Gold Bug- The Sphinx- William Wilson.

    Now, in search of some new pets to satisfy his cruel pursuit of amusement, Simon finds a new shop in the city where he is intrigued by a new lifeform he has never heard of before... a collection of multi-colored sandkings. The curator explains that the insect-like animals, no larger than Simon's fingernails, are not insects, but animals with a highly-evolved hive intelligence capable of staging wars between the different colors, and even religion - in the form of worship of their owner. The curator's warning to Simon about the regularity of their feeding, unfortunately, was not taken seriously...Contents:- The Way of Cross and Dragon (1979)- Bitterblooms (1977)- In the House of the Worm (1976)- Fast-Friend (1976)- The Stone City (1977)- Starlady (1976)- Sandkings (1979)Cover illustration by Michael Whelan

    At first sight, he described it as "a most picturesque and beautiful city, situated in one of the loveliest landscapes that I have ever seen." Irving was preparing a book called A Chronicle of the Conquest of Granada, a history of the years 1478–1492, and was continuing his research on the topic. He immediately asked the then-governor of the historic Alhambra Palace as well as the archbishop of Granada for access to the palace, which was granted because of Irving's celebrity status. Aided by a 17-year old guide named Mateo Ximenes, Irving was inspired by his experience to write Tales of the Alhambra. Throughout his trip, he filled his notebooks and journals with descriptions and observations though he did not believe his writing would ever do it justice. He wrote, "How unworthy is my scribbling of the place." Irving continued to travel through Spain until he was appointed as secretary of legation at the United States Embassy in London, serving under the incoming minister Louis McLane. He arrived in London by late September 1829.

    Modern editions use a later revised version printed in 1817 and featuring a gloss. Along with other poems in Lyrical Ballads, it was a signal shift to modern poetry and the beginning of British Romantic literature.It relates the events experienced by a mariner who has returned from a long sea voyage. The Mariner stops a man on his way to a wedding ceremony and begins to narrate a story. The Wedding-Guest's reaction turns from bemusement to impatience, fear, and fascination as the Mariner's story progresses, as can be seen in the language style: for example, the use of narrative techniques such as personification and repetition to create a sense of danger, or the supernatural, or serenity, depending on the mood each different part of the poem.

    Allworthy on his country estate, Tom Jones is deeply in love with the seemingly unattainable Sophia Western, the beautiful daughter of the neighboring squire—though he sometimes succumbs to the charms of the local girls. When Tom is banished to make his own fortune and Sophia follows him to London to escape an arranged marriage, the adventure begins. A vivid Hogarthian panorama of eighteenth-century life, spiced with danger and intrigue, bawdy exuberance and good-natured authorial interjections, Tom Jones is one of the greatest and most ambitious comic novels in English literature.   • Includes a chronology, suggestions for further reading, notes, glossary, and an appendix of Fielding's revisions   • Introduction discusses narrative tecniques and themes, the context of eighteenth-century fiction and satire, and the historical and political background of the Jacobite revolutionFor more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    This is a place where a boy with keys for fingers is a hero, a woman's children are potatoes, and a little boy with an iron for a head is born to a family of pumpkin heads. With her singular mix of surrealism, musical prose, and keenly felt emotion, Bender once again proves herself to be a masterful chronicler of the human condition.

    Deeply influenced by real-life events, including characters based on Alcott's family members and drawing from her experiences participating in the suffrage and abolitionist movements, these stories have the authentic texture and detail of Christmas in nineteenth-century America.Louisa May Alcott was born in Germantown, Pennsylvania, in 1832. Her family later moved to Concord, Massachusetts, where Alcott was influenced by their neighbours Nathaniel Hawthorne, Ralph Waldo Emerson, and Henry David Thoreau. At a young age, Louisa took on some of the family's financial burdens, working as a domestic, a teacher, and a writer. In 1868 and 1869, fame and fortune came with the publication of Little Women. The author of many novels and an active campaigner for temperance and women's suffrage, Alcott died in 1888.

    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.

    This sparkling anthology covers the entire span of Twain’s inimitable yarn-spinning, from his early broad comedy to the biting satire of his later years.Every one of his sixty stories is here: ranging from the frontier humor of “The Celebrated Jumping Frog of Calaveras County,” to the bitter vision of humankind in “The Man That Corrupted Hadleyburg,” to the delightful hilarity of “Is He Living or Is He Dead?” Surging with Twain’s ebullient wit and penetrating insight into the follies of human nature, this volume is a vibrant summation of the career of–in the words of H. L. Mencken–“the father of our national literature.”

    Sir Nigel Anstruthers crosses the Atlantic to look for a rich wife and returns with the daughter of an American millionaire, Rosalie Vanderpoel. He turns out to be a bully, a miser and a philanderer and virtually imprisons his wife in the house. Only when Rosalie's sister Bettina is grown up does it occur to her and her father that some sort of rescue expedition should take place. And the beautiful, kind and dynamic Bettina leaves for Europe to try and find out why Rosalie has, inexplicably, chosen to lose touch with her family. In the process she engages in a psychological war with Sir Nigel; meets and falls in love with another Englishman; and starts to use the Vanderpoel money to modernize ‘Stornham Court’.The book’s title refers to ships shuttling back and forth over the Atlantic (Frances Hodgson Burnett herself traveled between the two countries thirty-three times, something very unusual then).

    They may be set in Africa, England, Germany, or France; their themes may range from the sexual dilemma of a too-attractive woman to the perilous initiation into manhood of a young boy; their tone may be dryly ironic, cuttingly satiric, brilliantly realistic, or powerfully tragic. But whatever the mood or place, long after the stories have ended the people linger in one's mind: the aging rake of the title piece and his insensitive doll-like bride; the compulsive housekeeper, estranged from her untidy husband and yearning for him; the sheltered young wife experiencing the horror of a swarm of locust on her husband's farm; pitiful Mr. Brooke, filling his empty days with dreams of the delightful Marnie; the two British travelers gripped by a gnawing paranoia as they face the evil and egoism of postwar Germany. Each demonstrates again and again the very special qualities of heart and mind that have one Doris Lessing a unique place in modern fiction.

    A despairing author abandons his wife, but in the course of a long night's wandering, he learns love's true value and returns to her, only to find her a different woman than the one he left. A landowner, seeking to prove a principle, inadvertently exposes the ferocity of mother love. A wealthy young traveler melts the hauteur of a lovely woman by masquerading as her aged and loyal servant.Shimmering and haunting, Dinesen's Winter's Tales transport us, through their author's deft guidance of our desire to imagine, to the mysterious place where all stories are born.

    of whom I can affirm only one thing, that they haunted certain brains, and have haunted, among others, my own.” First published in 1890, Lee’s most famous volume of supernatural tales occupies a special place in the literature of the fantastic for its treatment of the femme fatale and the allure of the past, along with the themes of thwarted artistic creativity and psychological obsession. This collection, which includes the four stories originally published in Hauntings and three others, enables readers to consider Lee’s work anew for its subtle redefinitions of gender and sexuality during the Victorian fin-de-siècle.The appendices, which include extensive excerpts from writings by Lee’s predecessors and peers, including Algernon Charles Swinburne, Walter Pater, and Lee’s brother Eugene Lee-Hamilton, allow the reader to see how Lee takes on the themes and preoccupations of the late-Victorian period but adapts them to her own purposes.Preface to Hauntings (1890) -- Amour dure (1887, 1890) -- Dionea (1890) -- Oke of Okehurst (1886, 1890) -- A wicked voice (1887, 1890) -- Prince Alberic and the snake lady (1896) -- A wedding chest (1904) -- Preface to The virgin of the seven daggers (1927) -- The virgin of the seven daggers (1896, 1909,1927) -- Appendix A: From Algernon Charles Swinburne, "Notes on designs of the old masters at Florence" (1868, 1875) -- Appendix B: From Walter Pater, "Pico della Mirandula" (1871, 1873) -- Appendix C: From Walter Pater, "Lionardo da Vinci" (1869, 1873) -- Appendix D: Vernon Lee, "Faustus and Helena: notes on the supernatural in art" (1880, 1881) -- Appendix E: A. Mary F. Robinson, "Before a bust of Venus" (1881) -- Appendix F: Eugene Lee-Hamilton, "The mandolin" (1882) -- Appendix G: A. Mary F. Robinson, "The ladies of Milan" (1889) -- Appendix H: Eugene Lee-Hamilton, "On a surf-rolled torso of Venus" (1884, 1894) -- Appendix I: Vernon Lee, "Out of Venice at last" (1925).

    Ranging from the prophetic to the surreal, these stories demonstrate Stanislaw Lem's vast talent and remarkable ability to blend meaning and magic into a wholly entertaining and captivating work.