The owls, hen, larks, and their nests in his beard, are among the fey fauna and peculiar persons inhabiting the uniquely inspired nonsense rhymes and drawings of Lear (20th child of a London stockbroker), whose Book of Nonsense, first published in 1846, stands alone as the ultimate and most loved expression in English of freewheeling, benign, and unconstricted merriment.

    In his late thirties, Blackwood started to write horror stories. He was very successful, writing ten books of short stories and appearing on both radio and television to tell them. He also wrote fourteen novels and a number of plays, most of which were produced but not published. He was an avid lover of nature, and many of his stories reflect this. Although Blackwood wrote a number of horror stories, his most typical work seeks less to frighten than to induce a sense of awe. Good examples are the novels The Centaur (1911), which climaxes with a traveller's sight of a herd of the mythical creatures; and Julius LeVallon (1916) and its sequel The Bright Messenger (1921), which deal with reincarnation and the possibility of a new, mystical evolution in human consciousness. His best stories, such as those collected in the book Incredible Adventures (1914), are masterpieces of atmosphere, construction and suggestion.

    Aesop was reputedly a tongue-tied slave who miraculously received the power of speech; from his legendary storytelling came the collections of prose and verse fables scattered throughout Greek and Roman literature. First published in English by Caxton in 1484, the fables and their morals continue to charm modern readers: who does not know the story of the tortoise and the hare, or the boy who cried wolf?

    Its roll call of storytellers includes cultural giants like Shakespeare, Defoe, and Dickens, and an innumerable host of writers of all sorts who sought to capture the essence of the place. Acclaimed historian Jerry White has collected some twenty-six stories to illustrate the extraordinary diversity of both London life and writing over the past four centuries, from Shakespeare’s day to the present. These are stories of fact and fiction and occasionally something in between, some from well-known voices and others practically unknown. Here are dramatic views of such iconic events as the plague, the Great Fire of London, and the Blitz, but also William Thackeray’s account of going to see a man hanged, Thomas De Quincey’s friendship with a teenaged prostitute, and Doris Lessing’s defense of the Underground. This literary London encompasses the famous Baker Street residence of Conan Doyle’s Sherlock Holmes and the bombed-out moonscape of Elizabeth Bowen’s wartime streets, Charles Dicken’s treacherous River Thames and Frederick Treves’s tragic Elephant Man. Graham Greene, Jean Rhys, Muriel Spark, and Hanif Kureishi are among the many great writers who give us their varied Londons here, revealing a city of boundless wealth and ragged squalor, of moving tragedy and riotous joy.(Book Jacket Status: Jacketed)

    Written in the 1380s, it presents Troilus, son of Priam and younger brother of Hector as a Trojan warrior of renown who sees, and falls deeply in love with the beautiful Cressida. Cressida is the daughter of Calchas, a Trojan priest and seer who, having divined the eventual fall of Troy, has deserted to Agamemnon’s camp, leaving his daughter in the besieged city, With the help of Pander, friend to Troilus and uncle to Cressida, the young couple meet and merge – but with unhappy consequences. Chaucer’s long poem is cast in seven-line rhymed stanzas, and is eased out of Middle English to be presented here in a lively modern verse translation by George Philip Krapp, who has retained not only the structure, but its spirit. Emotions run high, the love is intense, the story unfolds with a dramatic urgency that draws the listener ever onwards; yet Chaucer is Chaucer, and there are times when a deft line, a light insinuation, suggests the smile, the benevolence and the immediacy of the author of The Canterbury Tales. Troilus and Cressida, though often overshadowed by the Tales and time (and even Shakespeare who took up the story) is a monument in its own right in the canon of English literature. Once read it will never be forgotten.

    In 1985, under the editorship of Margaret Drabble, the text was thoroughly and sensitively revised to bring it up to date.The sixth edition, published in 2000, was extensively revised, expanded, and updated. Almost 600 new entries covered new writers, genres, and issues, and existing entries were reworked to incorporate the latest scholarship. In addition to the extensive coverage of writers, works, literary theory, allusions, and characters, there are sixteen featured entries on key topics including black British literature, fantasy fiction, and modernism. The Companion remains an unrivaled work that places English literature in its widest context: no other book offers such extensive exploration of the classical roots of English literature, and the European and non-European works and writers that have influenced its development.The sixth edition has now been revised to ensure that it remains absolutely up to date: the invaluable appendices - the chronology, and lists of winners of major literary awards - have been updated, as have many of the entries. Informed by the latest scholarly thinking, and comprehensively cross-referenced to guide the reader to topics of related interest, the Companion retains its position as the best guide to English literature available.

    Alfred R. Ferguson was founding editor of the edition, followed by Joseph Slater (until 1996).

    Frank Baum has been captivating the hearts of the young, and not so young, for over a hundred years.This delightful compilation includes all fifteen books written by L. Frank Baum:The Wonderful Wizard of OzThe Marvelous Land of OzOzma of OzDorothy and the Wizard in OzThe Road to OzThe Emerald City of OzThe Patchwork Girl Of OzLittle Wizard Stories of OzTik-Tok of OzThe Scarecrow Of OzRinkitink In OzThe Lost Princess Of OzThe Tin Woodman Of OzThe Magic of OzGlinda Of OzPerhaps there is no better, or fitting, introduction one could give to this compilation than the author's note that Baum himself writes in his very first book, "The Wonderful Wizard of Oz." Here he reveals the true intention of his work. Folklore, legends, myths and fairy tales have followed childhood through the ages, for every healthy youngster has a wholesome and instinctive love for stories fantastic, marvelous and manifestly unreal. The winged fairies of Grimm and Andersen have brought more happiness to childish hearts than all other human creations. Yet the old time fairy tale, having served for generations, may now be classed as "historical" in the children's library; for the time has come for a series of newer "wonder tales" in which the stereotyped genie, dwarf and fairy are eliminated, together with all the horrible and blood-curdling incidents devised by their authors to point a fearsome moral to each tale. Modern education includes morality; therefore the modern child seeks only entertainment in its wonder tales and gladly dispenses with all disagreeable incident. Having this thought in mind, the story of "The Wonderful Wizard of Oz" was written solely to please children of today. It aspires to being a modernized fairy tale, in which the wonderment and joy are retained and the heartaches and nightmares are left out.

    In the title story, a journalist visiting a celebrated but reclusive painter is intrigued by the elderly artist's relationship with two beautiful young women. John Fowles reputation as a master storyteller was further advanced by this collection, which echoed themes and preoccupations from his other books.

    In his first novel, which is essentially a rewrite of LITTLE DORRIT, Ackroyd's story involves a modern filmmaker (with the very literary name of Spenser Spender) who is trying to make a film of Dickens's novel, set in a London prison. The project becomes the focus of the interests of a colorful--and very Dickensian--collection of characters. As in all Ackroyd's novels, his first effort makes the city of London into something like a major character in the tale.

    With this brilliantly inventive collection, Ali Smith joins the campaign to save our public libraries and celebrate their true place in our culture and history.

    They stand out as one of the pinnacles in the critically neglected but perennially popular tradition of weird writing that includes E.T.A. Hoffmann and Charles Dickens as well as more recent masters like Jorge Luis Borges and Roald Dahl. With a cast of characters that ranges from man-eating flora to disgruntled devils and suburban salarymen (not that it's always easy to tell one from another), Collier's dazzling stories explore the implacable logic of lunacy, revealing a surreal landscape whose unstable surface is depth-charged with surprise.

    This story of three closely related Oxfordshire communities - a hamlet, the nearby village and a small market town - is based on the author's experiences during childhood and youth. It chronicles May Day celebrations and forgotten children's games, the daily lives of farmworkers and craftsmen, friends and relations - all painted with a gaiety and freshness of observation that make this trilogy an evocative and sensitive memorial to Victorian rural England.With a new introduction by Richard Mabey

    Housman's verse as it was established in 1939, three years after his death. In contains A Shropshire Lad, Last Poems, More Poems, the Additional Poems, and the three translations from A.W. Pollard's anthology, Odes from the Greek Dramatists.

    This tale of intrigue depicts life among the artisans, factory-girls, and slum-dwellers, documenting an inescapable world devoid of sentimentality and steeped with people scheming and struggling to survive. With Zolaesque intensity and relentlessness, Gissing lays bare the economic forces which determine the aspirations and expectations of those born to a life of labor.