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.

    But her sudden popularity left her quite unspoiled. A singular modesty, a childlike simplicity, a deep and beauti ful religious faith, were the qualities that endeared her to her friends and that are still evidenced by what was written of her at her death, which occurred in Dorchester October 1, 1866. As her pastor, Rev. Nathaniel Hall, declared in his memorial discourse, She received her success with a simple gladness, less that she was famous than that she might be useful; less that she had gained the public's applause than that she had touched, to issues human and philanthropic, the public's heart, and caused her poor 'lamplighter' to be the means of illumining other and direr darkness than that of night.

    William Dean Howells' richly humorous characterization of a self-made millionaire in Boston society provides a paradigm of American culture in the Gilded Age.After establishing a fortune in the paint business, Silas Lapham moves his family from their Vermont farm to the city of Boston, where they awkwardly attempt to break into Brahmin society.

    Theatricals and imaginative pageantry are all part of the fun.

    Tom lives with his Aunt Polly, half-brother Sid, and cousin Mary in the quaint town of St. Petersburg, just off the shore of the Mississippi River. St. Petersburg is described as a typical small-town atmosphere where the Christian faith is predominant, the social network is close-knit, and familiarity resides. Unlike his brother Sid, Tom receives "lickings" from his Aunt Polly; ever the mischief-maker, would rather play hooky than attend school and often sneaks out his bedroom window at night to adventure with his friend, Huckleberry Finn ­ the town's social outcast. Tom, despite his dread of schooling, is extremely clever and would normally get away with his pranks if Sid were not such a "tattle-tale." As punishment for skipping school to go swimming, Aunt Polly assigns Tom the chore of whitewashing the fence surrounding the house. In a brilliant scheme, Tom is able to con the neighborhood boys into completing the chore for him, managing to convince them of the joys of whitewashing. At school, Tom is equally as flamboyant, and attracts attention by chasing other boys, yelling, and running around. With his usual antics, Tom attempts to catch the eye of Becky Thatcher, a new girl in town, and persuades her to get "engaged" by kissing him. But their romance collapses when she learns Tom has been "engaged" previously to Amy Lawrence. Shortly after Becky shuns him, he accompanies Huckleberry Finn to the graveyard at night, where they witness the murder of Dr. Robinson.Excerpt:"TOM!" No answer. "TOM!" No answer. "What's gone with that boy,  I wonder? You TOM!" No answer. The old lady pulled her spectacles down and looked over them about the room; then she put them up and looked out under them. She seldom or never looked through them for so small a thing as a boy; they were her state pair, the pride of her heart, and were built for "style," not service—she could have seen through a pair of stove-lids just as well. She looked perplexed for a moment, and then said, not fiercely, but still loud enough for the furniture to hear: "Well, I lay if I get hold of you I'll—" She did not finish, for by this time she was bending down and punching under the bed with the broom, and so she needed breath to punctuate the punches with. She resurrected nothing but the cat. "I never did see the beat of that boy!"

    The scarlet letter A (for adultery) she has to wear on her clothes, along with her public shaming, is her punishment for her sin and her secrecy. She struggles to create a new life of repentance and dignity. Throughout the book, Hawthorne explores themes of legalism, sin, and guilt.

    She and her artist brother, Felix, travel to Boston to meet distant cousins relatives, partially in hopes of making a wealthy marriage. Its wit, gaiety, and what Rebecca West calls its "clear sunlit charm" have made this masterly short novel one of the most popular of James's novels.

    Set in seventeenth-century New England in the aftermath of the Pequod War, Hope Leslie not only chronicles the role of women in building the republic but also refocuses the emergent national literature on the lives, domestic mores, and values of American women.

    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.

    As Fiction. O. Matthiessen pointed out, “in these loosely connected sketches, she has acquired a structure independent of plot. Her scaffolding is simply the unity of her vision.” Her vision was of a gentle and generous people on a rugged and dangerous coast, of New England character and “characters” limned in colors of high summer and blue skies. Here, too, you will meet the people of Dunnet Landing; the women, who are probably the most unforgettable characters of her book; and Elijah Tilley (among the very few men in Jewett’s cast) who, after the death of his wife, learns the skills of husband and wife, of farm and sea. The black-and-white pencil drawings by Douglas Alvord are nothing short of spectacular. Closely observed and carefully rendered, they possess all of the haunting serenity of Jewett’s landscapes. Faithfully reproduced and printed to the highest standards, this is destined to become a standard gift and reading book for everyone fascinated by New England, the rich history of its rockbound coast, and this magical author.

    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.

    Consisting of a series of episodes in the story of the English outlaw Robin Hood and his band of Merry Men, the novel compiles traditional material into a coherent narrative in a colorful, invented "old English" idiom that preserves some flavor of the ballads, and adapts it for children. The novel is notable for taking the subject of Robin Hood, which had been increasingly popular through the 19th century, in a new direction that influenced later writers, artists, and filmmakers through the next century.[1]Pyle had been submitting illustrated poems and fairy tales to New York publications since 1876, and had met with success. The Merry Adventures of Robin Hood was the first novel he attempted. He took his material from Middle Age ballads and wove them into a cohesive story, altering them for coherence and the tastes of his child audience. For example, he included "Robin Hood and the Curtal Friar" in the narrative order to reintroduce Friar Tuck. He needed a cooperative priest for the wedding of outlaw Allan a Dale (Pyle's spelling of the original Alan-a-Dale) to his sweetheart Ellen. In the original "A Gest of Robyn Hode", the life is saved of an anonymous wrestler who had won a bout but was likely to be murdered because he was a stranger. Pyle adapted it and gave the wrestler the identity of David of Doncaster, one of Robin's band in the story "Robin Hood and the Golden Arrow." In his novelistic treatment of the tales, Pyle thus developed several characters who had been mentioned in only one ballad, such as David of Doncaster or Arthur a Bland. Pyle's book continued the 19th-century trend of portraying Robin Hood as a heroic outlaw who robs the rich to feed the poor; this portrayal contrasts with the Robin Hood of the ballads, where the protagonist is an out-and-out crook, whose crimes are motivated by personal gain rather than politics or a desire to help others.[1] For instance, he modified the ballad "Robin Hood's Progress to Nottingham", changing it from Robin killing fourteen foresters for not honoring a bet to Robin defending himself against a band of armed robbers. Pyle has Robin kill only one man, who shoots at him first. Tales are changed in which Robin steals all that an ambushed traveler carried, such as "Robin Hood and the Bishop of Hereford", so that the victim keeps a third and another third is dedicated to the poor. Pyle did not have much concern for historical accuracy, but he renamed the queen-consort in the story "Robin Hood and Queen Katherine" as Eleanor (of Aquitaine). This made her compatible historically with King Richard the Lion-Hearted, with whom Robin eventually makes peace. The novel was first published by Scribner's in 1883, and met with immediate success,[1] ushering in a new era of Robin Hood stories. It helped solidify the image of a heroic Robin Hood, which had begun in earlier works such as Walter Scott's 1819 novel Ivanhoe. In Pyle's wake, Robin Hood has become a staunch philanthropist protecting innocents against increasingly aggressive villains.[1] Along with the publication of the Child Ballads by Francis James Child, which included most of the surviving Robin Hood ballads, Pyle's novel helped increase the popularity of the Robin Hood legend in the United States. The Merry Adventures also had an effect on subsequent children's literature. It helped move the Robin Hood legend out of the realm of penny dreadfuls and into the realm of respected children's books.[2] After Pyle, Robin Hood became an increasingly popular subject for children's books: Louis Rhead's Bold Robin Hood and His Outlaw Band (1912) and Paul Creswick's Robin Hood (1917), illustrated by Pyle's pupil N. C.

    11 stories: The AwakeningBeyond the BayouMa'ame PelagieDesiree's BabyA Respectable WomanThe KissA Pair of Silk StockingsThe LocketA ReflectionAt the 'Cadian BallThe Storm

    "To Kill A Mockingbird" became both an instant bestseller and a critical success when it was first published in 1960. It went on to win the Pulitzer Prize in 1961 and was later made into an Academy Award-winning film, also a classic.Compassionate, dramatic, and deeply moving, "To Kill A Mockingbird" takes readers to the roots of human behavior - to innocence and experience, kindness and cruelty, love and hatred, humor and pathos. Now with over 18 million copies in print and translated into forty languages, this regional story by a young Alabama woman claims universal appeal. Harper Lee always considered her book to be a simple love story. Today it is regarded as a masterpiece of American literature.

    Scott Fitzgerald's third book, stands as the supreme achievement of his career. This exemplary novel of the Jazz Age has been acclaimed by generations of readers. The story is of the fabulously wealthy Jay Gatsby and his new love for the beautiful Daisy Buchanan, of lavish parties on Long Island at a time when The New York Times noted "gin was the national drink and sex the national obsession," it is an exquisitely crafted tale of America in the 1920s.The Great Gatsby is one of the great classics of twentieth-century literature.(back cover)