Sucksby, a "baby farmer," who raised her with unusual tenderness, as if Sue were her own. Mrs. Sucksby’s household, with its fussy babies calmed with doses of gin, also hosts a transient family of petty thieves—fingersmiths—for whom this house in the heart of a mean London slum is home.One day, the most beloved thief of all arrives—Gentleman, an elegant con man, who carries with him an enticing proposition for Sue: If she wins a position as the maid to Maud Lilly, a naïve gentlewoman, and aids Gentleman in her seduction, then they will all share in Maud’s vast inheritance. Once the inheritance is secured, Maud will be disposed of—passed off as mad, and made to live out the rest of her days in a lunatic asylum.With dreams of paying back the kindness of her adopted family, Sue agrees to the plan. Once in, however, Sue begins to pity her helpless mark and care for Maud Lilly in unexpected ways...But no one and nothing is as it seems in this Dickensian novel of thrills and reversals.

    This heady brew was caught nowhere better than in the revival of the Gothic tale in the late Victorian age, where the undead walked and evil curses, foul murder, doomed inheritance and sexual menace played on the stretched nerves of the new mass readerships. This anthology collects together some of the most famous examples of the Gothic tale in the 1890s, with stories by Arthur Conan Doyle, Vernon Lee, Henry James and Arthur Machen, as well as some lesser known yet superbly chilling tales from the era. The introduction explores the many reasons for the Gothic revival, and how it spoke to the anxieties of the moment.

    Was he a destroyer or the greatest of liberators?Why did he have to fight his battle, not against his enemies, but against those who needed him most, and his hardest battle against the woman he loved? What is the world’s motor — and the motive power of every man? You will know the answer to these questions when you discover the reason behind the baffling events that play havoc with the lives of the characters in this story. Tremendous in its scope, this novel presents an astounding panorama of human life — from the productive genius who becomes a worthless playboy — to the great steel industrialist who does not know that he is working for his own destruction — to the philosopher who becomes a pirate — to the composer who gives up his career on the night of his triumph — to the woman who runs a transcontinental railroad — to the lowest track worker in her Terminal tunnels. You must be prepared, when you read this novel, to check every premise at the root of your convictions.This is a mystery story, not about the murder — and rebirth — of man’s spirit. It is a philosophical revolution, told in the form of an action thriller of violent events, a ruthlessly brilliant plot structure and an irresistible suspense. Do you say this is impossible? Well, that is the first of your premises to check.

    The Lancashire Witches begins in the 16th century, in Lancashire, England. When a Cistercian monk, Borlace Alvetham, is falsely accused of witchcraft and condemned to death by his rival, Brother Paslew, he sells his soul to Satan and escapes. Years later, granted the powers of a warlock, he returns in the guise of Nicholas Demdike to witness Paslew's execution for treason. Dying, Paslew curses Demdike's offspring -- who become the titular "Lancashire Witches." The rest of the book set in the 17th century. Mother Demdike, a powerful witch, and her clan face rival witches, raise innocent young Alizon Devi as their own, and try to corrupt Alizon despite her innocent ways. Ultimately, the book becomes a struggle between Heaven and Hell, with Alizon's fate hanging in the balance.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    It tells the story of the virtuous Greeks Glaucus and Ione, their escape from Pompeii amid the eruption of Vesuvius in 79 CE, and their eventual conversion to Christianity, against a background of Roman decadence and corrupt Eastern religion.

    A young English gentleman of means, Aubrey is immediately intrigued by Lord Ruthven, the mysterious newcomer among society’s elite. His unknown origin and curious behavior tantalizes Aubrey’s imagination. But the young man soon discovers a sinister character hidden behind his new friend’s glamorous facade.   When the two are set upon by bandits while traveling together in Europe, Ruthven is fatally injured. Before drawing his last breath, he makes the odd request that Aubrey keep his death and crimes secret for a year and a day. But when Ruthven resurfaces in London—making overtures toward Aubrey’s sister—Aubrey realizes this immortal fiend is a vampyre.   John William Polidori’s The Vampyre is both a classic tale of gothic horror and the progenitor of the modern romantic vampire myth that has been fodder for artists ranging from Anne Rice to Alan Ball to Francis Ford Coppola. Originally published in 1819, many decades before Bram Stoker’s Dracula, and misattributed to Polidori’s friend Lord Byron, The Vampyre has kept readers up at night for nearly two hundred years.

    But just lift the lid, slide the first tape from its ghostly sleeve, and you'll soon embrace the hypnotic realm of the undead.Book 1, Interview with the Vampire, opens with the seductive purr of F. Murray Abraham (Amadeus) stating, "I was a 25-year-old man when I became a vampire, and the year was 1791." And so our ultimate antihero, Louis, begins the elaborate retelling of his long, tortured life as a vampire. Winding through the ages, from New Orleans to Paris, we follow Louis and his undying mentor, Lestat, as they feed on humans, whet their carnal appetites, and uncover an underworld of vampire brethren.Interview with the Vampire, read by F.Murray AbrahamRunning time: 3 hours on 2 Audio Cassettes-----------------------------------------------Book 2, The Vampire Lestat, brings us up to date, with Lestat waking from his earthen slumber to join the ranks of rock superstardom before sitting down to share the tale of his own haunting initiation into the vampire world. Michael York (Cabaret) puts his wonderfully fluid, cosmopolitan voice to good use, adding a dash of sly humor to this fast-paced, satisfying blend of sex and blood and rock and roll.The Vampire Lestat, read by Michael York Running time: 3 hours on 2 Audio Cassettes-----------------------------------------------Book 3, The Queen of the Damned, takes us back, all the way back to ancient Egypt, exposing the origins of the vampire way. Narrating in eerily serene and gracious tones, Kate Nelligan (The Prince of Tides) leads us gently down this bloody path of immortal desires. David Purdham gives the voice of Lestat a wistful quality, tinged with an evil relish that exposes the master vampire's sanguine tastes.Queen of the Damned, read by Kate Nelligan and David PurdhamRunning time: 3 hours on 2 Audio Cassettes-----------------------------------------------Anne Rice has continued her Vampire Chronicles beyond these three novels, but that shouldn't make this collection any less tempting to either the undead initiate or certified vampire junkie. --George LaneyTotal: 6 Audio Cassettes / 9 hours~

    In this selection of essays, he ranges from reflections on his boyhood schooling and the profession of writing to his views on the Spanish Civil War and British imperialism. The pieces collected here include the relatively unfamiliar and the more celebrated, making it an ideal compilation for both new and dedicated readers of Orwell's work.

    Understandable perhaps from the point of view of the poet: readers on the other hand might wish to demur. The poems gathered here and chronologically ordered, thereby tracing the course of the war, are an extraordinary testimony to the almost unimaginable experiences of a combatant in that bitter conflict. Moving from the patriotic optimism of the first few poems (" ... fighting for our freedom, we are free") to the anguish and anger of the later work (where "hope, with furtive eyes and grappling fists / Flounders in mud ... "), there comes a point when the reality of trench-warfare and its aftershocks move beyond comprehension: Sassoon knows this, and it becomes a powerful element in his art. As a book, the images have a cumulative relentlessness that make it almost impossible to read more than a few poems in one sitting. Unlike the avant-garde experiments developing in Europe in the first decades of this century, Sassoon's verse is formally conservative--but this was perhaps necessary, for as one reads the poems, one feels that the form, the classically inflected tropes, the metre and rhyme, apart from ironising the rhetoric of glory and battle were necessary techniques for containing the emotion (and indeed, a tone of barely controlled irony may have been the only means by which these angry observations would have been considered publishable at the time). When Sassoon's line begins to fragment, as it does in several of the later poems, it is under the extreme pressure to express the inexpressible. Compassion and sympathy are omnipresent here, in their full etymological sense of suffering with or alongside others--something the higher echelons of command (those " ... old men who died / Slow, natural deaths--old men with ugly souls") were never able or willing to contemplate. But Sassoon intuited the future of warfare, could sense that this was not "the war to end all wars": the mock-religious invocation of the final poem prefigures the vicious euphemisms of more recent conflicts: "Grant us the power to prove, by poison gases, / The needlessness of shedding human blood." Sassoon's bile-black irony signals a deep-felt pessimism: it was with good reason. --Burhan Tufail

    As the Old Empire crumbles into barbarism throughout the million worlds of the galaxy, Hari Seldon and his band of psychologists must create a new entity, the Foundation-dedicated to art, science, and technology-as the beginning of a new empire. FOUNDATION AND EMPIRE describes the mighty struggle for power amid the chaos of the stars in which man stands at the threshold of a new enlightened life which could easily be destroyed by the old forces of barbarism. SECOND FOUNDATION follows the Seldon Plan after the First Empire's defeat and describes its greatest threat-a dangerous mutant strain gone wild, which produces a mind capable of bending men's wills, directing their thoughts, reshaping their desires, and destroying the universe.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    

    Her father, a famous musician, dies, and she is raised in the Paris Opera House with his dying promise of a protective angel of music to guide her. After a time at the opera house, she begins hearing a voice, who eventually teaches her how to sing beautifully. All goes well until Christine's childhood friend Raoul comes to visit his parents, who are patrons of the opera, and he sees Christine when she begins successfully singing on the stage. The voice, who is the deformed, murderous 'ghost' of the opera house named Erik, however, grows violent in his terrible jealousy, until Christine suddenly disappears. The phantom is in love, but it can only spell disaster.Leroux's work, with characters ranging from the spoiled prima donna Carlotta to the mysterious Persian from Erik's past, has been immortalized by memorable adaptations. Despite this, it remains a remarkable piece of Gothic horror literature in and of itself, deeper and darker than any version that follows.

    This is the story of a trip backward in time in which a nostalgia for the quaint turns into a hideous nightmare.