Told in a series of vignettes – sometimes heartbreaking, sometimes deeply joyous–it is the story of a young Latina girl growing up in Chicago, inventing for herself who and what she will become. Few other books in our time have touched so many readers.

    In 1949, four Chinese women, recent immigrants to San Francisco, meet weekly to play mahjong and tell stories of what they left behind in China. United in loss and new hope for their daughters' futures, they call themselves the Joy Luck Club. Their daughters, who have never heard these stories, think their mothers' advice is irrelevant to their modern American lives – until their own inner crises reveal how much they've unknowingly inherited of their mothers' pasts. With wit and sensitivity, Amy Tan examines the sometimes painful, often tender, and always deep connection between mothers and daughters. As each woman reveals her secrets, trying to unravel the truth about her life, the strings become more tangled, more entwined. Mothers boast or despair over daughters, and daughters roll their eyes even as they feel the inextricable tightening of their matriarchal ties. Tan is an astute storyteller, enticing readers to immerse themselves into these lives of complexity and mystery.

    Boyle in The Tortilla Curtain, Viramontes (The Moths and Other Stories) presents a moving and powerful vision of the lives of the men, women, and children who endure a second-class existence and labor under dangerous conditions in California's fields.   This first novel tells the story a young girl, Estrella, and her Latino family as they struggle with arduous farm labor during the summer months, and still manage to latch onto the hope of a liberating future.  Viramontes graces the page with poetic touch, artfully describing poverty conditions and bringing to the reader a panoramic view of social consciousness and unforgettable characters.

    Southworth was one of the most popular and prolific writers of the nineteenth century and her Capitola Black, or Black Cap - a cross-dressing, adventure-seeking girl-woman - was so well-loved that the book was serialized three times between 1859 and 1888 and was dramatized in forty different versions. When we first meet sharp and witty Capitola she is living among beggars and street urchins, and dressed as a boy because a boy can get work and be safe, whereas a girl is left to starve for want of "proper" employment. Unknown to her, Capitola has a very rich elderly guardian who finds her at a providential moment and takes her back to his palatial mansion where she finds herself "decomposing above ground for want of having my blood stirred." But not to fear. There are bandits, true-loves, evil men, long-lost mothers, and sweet women friends in Capitola's future - not to mention thunder storms, kidnap attempts, and duels. The pace is fast, the action wonderfully unbelievable. This is escape literature at its nineteenth-century best, with a woman at its center who makes you feel strong, daring, and reckless.

    The first and most terrifying monster in English literature, from the great early epic Beowulf, tells his side of the story in a book William Gass called "one of the finest of our contemporary fictions."

    Its charm lies not in its plot, but rather in its wise and humane look at man's constant search for happiness. The text is based on the second edition as Samuel Johnson revised it.

    Her use of quilting as a metaphor for the creative legacy that African Americans inherited from their maternal ancestors changed the way we define art, women's culture, and African American lives. By putting African American women's voices at the center of the narrative for the first time, "Everyday Use" anticipated the focus of an entire generation of black women writers. This casebook includes an introduction by the editor, a chronology of Walker's life, an authoritative text of "Everyday Use" and of "In Search of Our Mothers' Gardens," an interview with Walker, six critical essays, and a bibliography. The contributors are Charlotte Pierce-Baker, Houston A. Baker, Jr., Thadious M. Davis, Margot Anne Kelley, John O'Brien, Elaine Showalter, and Mary Helen Washington.

    For 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.

    During the years when her husband F. Scott Fitzgerald was working on Tender is the Night—which many critics consider his masterpiece—Zelda Fitzgerald was preparing her own story. The novel strangely parallels events from her husband’s life, throwing a fascinating light on Scott Fitzgerald and his work. In its own right, it is a vivid and moving story—centered upon the confessional of a famous glamour girl of the affluent 1920s and an aspiring ballerina—that captures the spirit of an era.

    In fact, it is a compelling adventure story with richly drawn characters and has earned a place in both literary and American history. Stowe's religious beliefs show up in the novel's final, overarching theme—the exploration of the nature of Christianity and how Christian theology is fundamentally incompatible with slavery.

    A satirical poem that intentionally over-dramatizes an incident in which a lock of a woman's hair is cut without her permission.

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

    In "Hands," Wing Biddlebaum tries to hide the tale of his banishment from a Pennsylvania town, a tale represented by his hands. In "Adventure," lonely Alice Hindman impulsively walks naked into the night rain. Threaded through the stories is the viewpoint of George Willard, the young newspaper reporter who, like his creator, stands witness to the dark and despairing dealings of a community of isolated people.

    Here is the story of the inimitable twelve-year-old Frankie, who is utterly, hopelessly bored with life until she hears about her older brother's wedding. Bolstered by lively conversations with her house servant, Berenice, and her six-year-old male cousin—not to mention her own unbridled imagination—Frankie takes on an overly active role in the wedding, hoping even to go, uninvited, on the honeymoon, so deep is her desire to be the member of something larger, more accepting than herself. "A marvelous study of the agony of adolescence" (Detroit Free Press), The Member of the Wedding showcases Carson McCullers at her most sensitive, astute, and lasting best.

    The sketches, poems, and stories of black rural and urban life that make up Cane are rich in imagery. Visions of smoke, sugarcane, dusk, and flame permeate the Southern landscape: the Northern world is pictured as a harsher reality of asphalt streets. Impressionistic, sometimes surrealistic, the pieces are redolent of nature and Africa, with sensuous appeals to eye and ear.