Why, she asks, when writers such as Samuel Clemens, F. Scott Fitzgerald, Eudora Welty, Flannery O'Connor, Saul Bellow, and John Updike have among them written hundreds of short stories, do anthologists settle on the same two or three titles by each author again and again? Isn't the implicit promise of an anthology that it will, or aspires to, present something different, unexpected? In The Oxford Book of American Short Stories, Joyce Carol Oates offers a sweeping survey of American short fiction, in a collection of fifty-six tales that combines classic works with many different, unexpected gems, and that invites readers to explore a wealth of important pieces by women and minority writers. Some selections simply can't be improved on, Oates admits, and she happily includes such time-honored works as Irving's Rip Van Winkle, Poe's The Tell-Tale Heart, and Hemingway's A Clean, Well-Lighted Place. But alongside these classics, Oates introduces such little-known stories as Mark Twain's Cannibalism in the Cars, a story that reveals a darker side to his humor (That morning we had Morgan of Alabama for breakfast. He was one of the finest men I ever sat down to...a perfect gentleman, and singularly juicy). From Melville come the juxtaposed tales The Paradise of Bachelors and the Tartarus of Maids, of which Oates says, Only Melville could have fashioned out of 'real' events...such harrowing and dreamlike allegorical fiction. From Flannery O'Connor we find A Late Encounter With the Enemy, and from John Cheever, The Death of Justina, one of Cheever's own favorites, though rarely anthologized. The reader will also delight in the range of authors found here, from Charles W. Chesnutt, Jean Toomer, and Sarah Orne Jewett, to William Carlos Williams, Kate Chopin, and Zora Neale Hurston. Contemporary artists abound, including Bharati Mukherjee and Amy Tan, Alice Adams and David Leavitt, Bobbie Ann Mason and Tim O'Brien, Louise Erdrich and John Edgar Wideman. Oates provides fascinating introductions to each writer, blending biographical information with her own trenchant observations about their work, plus a long introductory essay, in which she offers the fruit of years of reflection on a genre in which she herself is a master. This then is a book of surprises, a fascinating portrait of American short fiction, as filtered through the sensibility of a major modern writer.

    Before she began writing, Jane Austen wrote, 'I am going to take a heroine whom no-one but myself will much like' and thus introduces the handsome, clever, rich - and flawed - Emma Woodhouse. Emma is perfectly content with her life and sees no need for either love or marriage; nothing, however, delights her more than matchmaking her fellow residents of Highbury. But when she ignores the warnings of her good friend Mr Knightley and attempts to arrange a suitable match for her protegee Harriet Smith, her carefully laid plans soon unravel and have consequences that she never expected. This lively comedy of manners, with its witty and subtle exploration of relationships, is often seen as Jane Austen's masterpiece.Public Domain (P)2018 Audible, Ltd.

    An early masterwork among American literary treatments of miscegenation, Chesnutt’s story is of two young African Americans who decide to pass for white in order to claim their share of the American dream.

    This collects "Sonny's Blues", "The Rockpile" and "Previous Condition", all taken from Going to Meet the Man (Penguin, 1991).

    Akira Kurosawa used this story as the basis for his award-winning movie Rashōmon."In a Grove" is an early modernist short story consisting of seven varying accounts of the murder of a samurai, Kanazawa no Takehiro, whose corpse has been found in a bamboo forest near Kyoto. Each section simultaneously clarifies and obfuscates what the reader knows about the murder, eventually creating a complex and contradictory vision of events that brings into question humanity's ability or willingness to perceive and transmit objective truth.The story is often praised as being among the greatest in Japanese literature.

    But his attempts to become a respected member of the community are constantly put under threat: by his own conscience, when, owing to a case of mistaken identity, another man is arrested in his place; and by the relentless investigations of the dogged Inspector Javert. It is not simply for himself that Valjean must stay free, however, for he has sworn to protect the baby daughter of Fantine, driven to prostitution by poverty.

    This modern section has been overhauled to reflect the diversity of American writing since 1945. A section on 19th-century women's writing is included.

    The character lives beyond her means in order to escape the banalities and emptiness of provincial life. When the novel was first serialized in La Revue de Paris between 1 October 1856 and 15 December 1856, public prosecutors attacked the novel for obscenity. The resulting trial in January 1857 made the story notorious. After Flaubert's acquittal on 7 February 1857, Madame Bovary became a bestseller in April 1857 when it was published in two volumes. A seminal work of literary realism, the novel is now considered Flaubert's masterpiece, and one of the most influential literary works in history.

    The same family appears in Act Two 25 years older and back in London, only now it’s 1979. Cloud 9 is about relationships between women and men, men and men, women and women. It is about sex, work, mothers, Africa, power, children, grandmothers, politics, money, Queen Victoria, and Sex. Cloud 9 premiered in London at the Royal Court Theatre in 1979 and has since been staged all over the world.

    With Patriotism, Mishima was able to give his heartwrenching patriotic idealism an immortal vessel. A lieutenant in the Japanese army comes home to his wife and informs her that his closest friends have become mutineers. He and his beautiful loyal wife decide to end their lives together. In unwavering detail Mishima describes Shinji and Reiko making love for the last time and the couple’s seppuku that follows.

    . .’ Enduring myths of vengeful gods and tragically flawed mortals from ancient Rome’s great poet. Ovid tells the tales of Theseus and the Minotaur, Daedalus and Icarus, the Calydonian Boar-Hunt, and many other famous myths.(Taken from Books VIII and IX of Mary M. Innes’s translation of Metamorphoses.)[ Ovid (Publius Ovidius Naso) 43 BC–17 AD ]Little Black Classics celebrates Penguin’s 80th birthday, introducing 80 works from the classics.

    Set in a small, dusty Texas town, it introduces Jacy, Duane and Sonny, teenagers stumbling towards adulthood, discovering the beguiling mysteries of sex and the even more baffling mysteries of love.

    One hundred fifty years later, Clare Boylan has finished Brontë's novel, sparking a sensational literary event. With pitch-perfect tone that is utterly true to Brontë's voice, Boylan delivers a brilliant tale about a mysterious young girl, Matilda, who is delivered to a girls' school in provincial England. When everything about the girl's wealthy background turns out to be a fiction, it falls to a local gentleman, Mr. Ellin, and a childless widow, Isabel Chalfont, to begin a quest for her past and her identity that takes them from the drawing rooms of country society to London's seamiest alleys. With all the intelligence and pathos of the novel's originator, Boylan develops Brontë's sketch of a girl without a past into a stunning portrait of Victorian society with a shameful secret at its heart.

    H. Lawrence. The story describes a young middle-class Englishwoman who "had no luck." Though outwardly successful, she is haunted by a sense of failure; her husband is a ne'er-do-well and her work as a commercial artist doesn't earn as much as she'd like. The family's lifestyle exceeds its income and unspoken anxiety about money permeates the household. Her children, a son Paul and his two sisters, sense this anxiety; moreover, the kids even claim they can hear the house whispering "There must be more money." Paul tells his Uncle Oscar Cresswell about betting on horse races with Bassett, the gardener. He's been placing bets using his pocket money and has won and saved three hundred twenty pounds. Sometimes he says he is "sure" of a winner for an upcoming race, and the horses he names do in fact win, sometimes at remarkable odds. Uncle Oscar and Bassett both place large bets on the horses Paul names. After further winning, Paul and Oscar arrange to give the mother a gift of five thousand pounds, but the gift only lets her spend more. Disappointed, Paul tries harder than ever to be "lucky." As the Derby approaches, Paul is determined to learn the winner. Concerned about his health, his mother rushes home from a party and discovers his secret. He has been spending hours riding his rocking horse, sometimes all night long, until he "gets there," into a clairvoyant state where he can be sure of the winner's name. Paul remains ill through the day of the Derby. Informed by Cresswell, Bassett has placed Paul's bet on Malabar, at fourteen to one. When he is informed by Bassett that he now has 80,000 pounds, Paul says to his mother: "I never told you, mother, that if I can ride my horse, and get there, then I'm absolutely sure - oh absolutely! Mother, did I ever tell you? I am lucky!" "No, you never did," said his mother. The boy dies in the night and his mother hears her brother say, "My God, Hester, you're eighty-odd thousand to the good, and a poor devil of a son to the bad. But, poor devil, poor devil, he's best gone out of a life where he rides his rocking horse to find a winner.

    But Briony’s incomplete grasp of adult motives and her precocious imagination bring about a crime that will change all their lives, a crime whose repercussions Atonement follows through the chaos and carnage of World War II and into the close of the twentieth century.