This collection has more than twenty-five selections, including such important statements as "Modern Fiction" and "The Modern Essay."

    Equally at home discussing Charles Dickens and Charlie Chaplin, he moved back and forth across the porous borders between essay and journalism, high art and low. A frequent commentator on literature, language, film, and drama throughout his career, Orwell turned increasingly to the critical essay in the 1940s, when his most important experiences were behind him and some of his most incisive writing lay ahead. All Art Is Propaganda follows Orwell as he demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary."how to be interesting, line after line."Contents:Charles DickensBoys' WeekliesInside the WhaleDrama Reviews: The Tempest, The Peaceful InnFilm Review: The Great DictatorWells, Hitler and the World StateThe Art of Donald McGillNo, Not OneRudyard KiplingT.S. EliotCan Socialists Be Happy?Benefit of Clergy: Some Notes on Salvador DaliPropaganda and Demotic SpeechRaffles and Miss BlandishGood Bad BooksThe Prevention of LiteraturePolitics and the English LanguageConfessions of a Book ReviewerPolitics vs. Literature: An Examination of Gulliver's TravelsLear, Tolstoy and the FoolWriters and LeviathanReview of The Heart of the Matter by Graham GreeneReflections on Gandhi

    There was no ship in sight, and the seagulls were motionless upon its even greyness. The sky was dark with lowering clouds, but there was no wind. The line of the horizon was clear and delicate. The shingly beach, no less deserted, was thick with tangled seaweed, and the innumerable shells crumbed under the feet that trod them. The breakwaters, which sought to prevent the unceasing encroachment of the waves, were rotten with age and green with the sea-slime. It was a desolate scene, but there was a restfulness in its melancholy; and the great silence, the suave monotony of color, might have given peace to a heart that was troubled. They could not assuage the torment of the woman who stood alone upon that spot. She did not stir; and, though her gaze was steadfast, she saw nothing. Nature has neither love nor hate, and with indifference smiles upon the light at heart and to the heavy brings a deeper sorrow. It is a great irony that the old Greek, so wise and prudent, who fancied that the gods lived utterly apart from human passions, divinely unconscious in their high palaces of grief and joy, the hope and despair, of the turbulent crowd of men, should have gone down to posterity as the apostle of brutish pleasure. But the silent woman did not look for solace. She had a vehement pride which caused her to seek comfort only in her own heart; and when, against her will, heavy tears rolled down her cheeks, she shook her head impatiently.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    Includes an introduction and postscript by the author about the phenomenon he inadvertently touched off. Fascinating for horror readers, religious scholars, and World War I afficianados -- as well as Machen's legion of fans

    The one exception is the loving, if dull-witted, Miss Foster. (Summary by BellonaTimes)

    When eleven-year-old Henrietta arrives at the Fishers’ well-appointed house in Paris, she is prepared to spend her day between trains looked after by an old friend of her grandmother’s. Little does Henrietta know what fascinations the Fisher house itself contains–along with secrets that have the potential to topple a marriage and redeem the life of a peculiar young boy. By the time Henrietta leaves the house that evening, she is in possession of the kind of grave knowledge that is usually reserved only for adults.

    Colambre travels incognito to Ireland to see the country that he still considers his home. When he returns to London he assists his father to pay off the debts, on condition that the Clonbrony family return to live in Ireland. Maria Edgeworth (1 January 1768 - 22 May 1849) was a prolific Anglo-Irish writer of adults' and children's literature. She was one of the first realist writers in children's literature and was a significant figure in the evolution of the novel in Europe. She held advanced views, for a woman of her time, on estate management, politics and education, and corresponded with some of the leading literary and economic writers, including Sir Walter Scott and David Ricardo.

    This book has been restored and reprinted from the 1886 edition. It is a high quality reproduction that retains the typesetting and illustrations of the original, which adds to the charming antique feel of the book. The image on the paperback cover has been reproduced from the original gilt hardcover graphic. This volume also features a small blank plaque on the title page that would be perfect for the owner's name or a gift inscription.

    "Why don't you get out of that wet coat and into a dry martini?"

    This beautiful collection is the product of years of full-time research by a team of British and American scholars and represents the most thorough examination ever undertaken of the nature and authority of Shakespeare's work. The editors reconsidered every detail of the text in the light of modern scholarship and they thoroughly re-examined the earliest printed versions of the plays, firmly establishing the canon and chronological order of composition. All stage directions have been reconsidered in light of original staging, and many new directions for essential action have been added. This superb volume also features a brief introduction to each work as well as an illuminating General Introduction. Finally, the editors have added a wealth of secondary material, including an essay on language, a list of contemporary allusions to Shakespeare, an index of Shakespearean characters, a glossary, a consolidated bibliography, and an index of first lines of the Sonnets.Compiled by the world's leading authorities, packed with information, and attractively designed, The Oxford Shakespeare is the gold standard of Shakespearean anthologies.

    Through these enticing encounters with fairies, elves, and animals, the author creates a foundation for young people based on the themes of love, kindness, and responsibility. A collection of original fairy tales written by the acclaimed Louisa May Alcott. These stories are part of a large body of fantasy fiction the author wrote throughout her career. Each story features adventures of elves and fairy sprites in fairyland and are imbued with the lushness of Alcott's love of the natural world.

    Bukowski's last journals candidly and humorously reveal the events in the writer's life as death draws inexorably nearer, thereby illuminating our own lives and natures, and to give new meaning to what was once only familiar. Crumb has illustrated the text with 12 full-page drawings and a portrait of Bukowski.

    A retelling of The Canterbury Tales

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