He is obsessed with a beautiful stranger, the art student Miranda. When he wins the pools he buys a remote Sussex house and calmly abducts Miranda, believing she will grow to love him in time.

    Gordon Comstock has declared war on the money god; and Gordon is losing the war. Nearly 30 and "rather moth-eaten already," a poet whose one small book of verse has fallen "flatter than any pancake," Gordon has given up a "good" job and gone to work in a bookshop at half his former salary. Always broke, but too proud to accept charity, he rarely sees his few friends and cannot get the virginal Rosemary to bed because (or so he believes), "If you have no money ... women won't love you." On the windowsill of Gordon's shabby rooming-house room is a sickly but unkillable aspidistra--a plant he abhors as the banner of the sort of "mingy, lower-middle-class decency" he is fleeing in his downward flight.In Keep the Aspidistra Flying, George Orwell has created a darkly compassionate satire to which anyone who has ever been oppressed by the lack of brass, or by the need to make it, will all too easily relate. He etches the ugly insanity of what Gordon calls "the money-world" in unflinching detail, but the satire has a second edge, too, and Gordon himself is scarcely heroic. In the course of his misadventures, we become grindingly aware that his radical solution to the problem of the money-world is no solution at all--that in his desperate reaction against a monstrous system, he has become something of a monster himself. Orwell keeps both of his edges sharp to the very end--a "happy" ending that poses tough questions about just how happy it really is. That the book itself is not sour, but constantly fresh and frequently funny, is the result of Orwell's steady, unsentimental attention to the telling detail; his dry, quiet humor; his fascination with both the follies and the excellences of his characters; and his courageous refusal to embrace the comforts of any easy answer.

    She soon escapes her fate for the loving arms of a wealthy young man, but misadventure and fate conspire to keep her from domestic bliss. Instead, Fanny discovers that sex need not be just for love; that it can be had for pleasure. She then sets out to explore those pleasures in as wide a variety as she can. With old men and young, and women as well; in positions of power, and situations where she has none; either watching or participating, Fanny's journey through the realms of sexual pleasure is a literary tour-de-force.

    This volume restores all of the material removed by the novel's first editor.Upon receipt of the typescript, Wilde's editor panicked at what he saw. Contained within its pages was material he feared readers would find "offensive"--especially instances of graphic homosexual content. He proceeded to go through the typescript with his pencil, cleaning it up until he made it "acceptable to the most fastidious taste." Wilde did not see these changes until his novel appeared in print. Wilde's editor's concern was well placed. Even in its redacted form, the novel caused public outcry. The British press condemned it as "vulgar," "unclean," "poisonous," "discreditable," and "a sham." When Wilde later enlarged the novel for publication in book form, he responded to his critics by further toning down its "immoral" elements.Wilde famously said that "The Picture of Dorian Gray" "contains much of me" Basil Hallward is "what I think I am," Lord Henry "what the world thinks me," and "Dorian what I would like to be--in other ages, perhaps." Wilde's comment suggests a backward glance to a Greek or Dorian Age, but also a forward-looking view to a more permissive time than his own repressive Victorian era. By implication, Wilde would have preferred we read today the uncensored version of his novel.

    Offered by her noble family to the Church at the age of eight, she lived for years in forced silence. But through the study of books and herbs, through music and the kinship of her church sisters, Hildegard found her way from a life of submission to a calling that celebrated the divine mother and the glories all around us. In this brilliantly researched and insightful novel, Mary Sharratt offers a deeply moving portrait of a woman willing to risk everything for what she believed, a triumphant exploration of the life she might well have lived.

    You can always come home.” At the age of eighteen, musician and songwriter Cooper O’Connor took everything his father held dear and drove 1,200 miles from home to Nashville, his life riding on a six-string guitar and the bold wager that he had talent. But his wager soon proved foolish.Five years after losing everything, he falls in love with Daley Cross, an angelic voice in need of a song. But just as he realizes his love for Daley, Cooper faces a tragedy that threatens his life as well as his career. With nowhere else to go, he returns to his remote home in the Colorado Mountains, searching for answers about his father and his faith.When Daley shows up on his street corner twenty years later, he wonders if it’s too late to tell her the truth about his past—and if he is ready to face it.A radical retelling of the story of the prodigal son, Long Way Gone takes us from tent revivals to the Ryman Auditorium to the tender relationship between a broken man and the father who never stopped calling him home.

    But how did he get there? What was Job's life like before tragedy struck? What did he think as his world came crashing down around him? And what was life like after God restored his wealth, health, and family? Through painstaking research and a writer's creative mind, Mesu Andrews weaves an emotional and stirring account of this well-known story told through the eyes of the women who loved him. Drawing together the account of Job with those of Esau's tribe and Jacob's daughter Dinah, Love Amid the Ashes breathes life, romance, and passion into the classic biblical story of suffering and steadfast faith.