H. Lawrence's shorter fiction, but also to trace a pattern of development in the author's career. As Brian Finney writes in the Introduction: "To follow the development of his stories from the gauche anecdotes of his early twenties to the sophisticated parodies of the genre that he wrote in the last years of his life is like retracing the history of the genre from its pre-Chekhovian social realism and watching it read forward to the verbal play and self-conscious artificiality of postmodernist writers such as Borges and Beckett."The selection comprises fourteen short stories, including "Love Among the Haystacks," "The Prussian Officer," "Odour of Chrysanthemums," "The Border Line, and "The Woman Who Rode Away."

    But this great novelist began and ended his writing career as a poet. In-between, he wrote a number of books that many readers find emotionally-wrenching, but which are considered among the classics of 19th Century British literature, including Far from the Madding Crowd, and Tess of the D'Urbervilles. Readers will experience Hardy's uncompromising, unsentimental realism in Wessex Tales, and for those seeking a taste of the Dorset poet and novelist, they represent an ideal start.

    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.

    What happens when a man lives his life backwards, or a family owns a diamond as big as the Ritz Hotel?How can a boring girl become more popular, a careless young woman become more sensible, or a cut-glass bowl destroy a married woman's life?What does a young man do to save the girl that he likes from an evil ghost, or to forget old feelings for a woman when she marries another man?Read this collection of short stories by one of America's finest storytellers to find out.

    Somerset Maugham's ode to the powerful forces behind creative genius. Charles Strickland is a staid banker, a man of wealth and privilege. He is also a man possessed of an unquenchable desire to create art. As Strickland pursues his artistic vision, he leaves London for Paris and Tahiti, and in his quest makes sacrifices that leave the lives of those closest to him in tatters. Through Maugham's sympathetic eye, Strickland's tortured and cruel soul becomes a symbol of the blessing and the curse of transcendent artistic genius, and the cost in humans' lives it sometimes demands.

    It is a fiction about fiction-writing in which the invented world is as much infused with wit and genius as the theme of inventing it. It is a joyful celebration of the infinite possibilities of the art of fiction, and a wry demonstration of its limitations. This Penguin Classic contains Christopher Ricks's introductory essay, itself a classic of English literary criticism, together with a new introduction on the recent critical history and influence of Tristram Shandy by Melvyn New. The text and notes are based on the acclaimed Florida Edition, making the scholarship of the Florida editors readily available for the first time.

    They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure - William Wordsworth, from the Advertisment prefacing the original 1798 edition. When it was first published, Lyrical Ballads enraged the critics of the day: Wordsworth and Coleridge had given poetry a voice, one decidedly different to what had been voiced before. For Wordsworth, as he so clearly stated in his celebrated preface to the 1800 edition (also reproduced here), the important thing was the emotion aroused by the poem, and not the poem itself. This acclaimed Routledge Classics edition offers the reader the opportunity to study the poems in their original contexts as they appeared to Coleridge's and Wordsworth's contemporaries, and includes some of their most famous poems, including Coleridge's Rime of the Ancyent Marinere.

    In the pared-down style that has since become his hallmark, Carver showed us how humour and tragedy dwelt in the hearts of ordinary people, and won a readership that grew with every subsequent brilliant collection of stories, poems and essays that appeared in the last eleven years of his life.

    However much the reader may sympathize with Hetty Sorrel and identify with Arthur Donnithorne, her seducer, and with Adam Bede, the man Hetty betrays,it is George Eliots's creation of the distant aesthetic whole - the complex, multifarious life of Hayslope - which so grips the reader's imagination. As Stephen Gill comments: 'Reading the novel is a process of learning simultaneously about the world of Adam Bede and the world of Adam Bede.'

    A retelling of The Canterbury Tales

    In the Daily Mail Angela Huth called "Good Evening, Mrs Craven" 'my especial find' and Ruth Gorb in the "Ham & High" contrasted the humour of some of the stories with the desolation of others: 'The mistress, unlike the wife, has to worry and mourn in secret for her man; a middle-aged spinster finds herself alone again when the camaraderie of the air-raids is over ...'

    R. James wrote his ghost stories to entertain friends on Christmas Eve, and they went on to both transform and modernise a genre. James harnesses the power of suggestion to move from a recognisable world to one that is indefinably strange, and then unforgettably terrifying. Sheets, pictures, carvings, a dolls house, a lonely beach, a branch tapping on a window ordinary things take on more than a tinge of dread in the hands of the original master of suspense.

    Yet friendships flourish among these Lonely Londoners and, in time, they learn to survive.

    For Hemingway fans The Complete Short Stories is an invaluable treasury.

    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.