Attempting to gain access to the papers, the property of Aspern's former mistress, he rents a room in a decaying Venetian villa where the woman lives with her aging niece. Led by his zeal into increasingly unscrupulous behavior, the narrator is faced in the end with relinquishing his heart's desire or attaining it an an overwhelming price.Inspired by an actual incident involving Claire Clairmont, once the mistress of Lord Byron, this masterfully written tale incorporates all those elements expected from James: psychological subtlety, deft plotting, the clash of cultures, and profoundly nuanced representation of scene, mood, and character. This volume also contains James's celebrated Preface from the New York edition of his collected works.

    Unlike the "New Woman" novels of the era which challenged the idea that the unmarried woman was superfluous, Gissing satirizes that image and portrays women as "odd" and marginal in relation to an ideal. Set in a grimy, fog-ridden London, Gissing's "odd" women range from the idealistic, financially self-sufficient Mary Barfoot to the Madden sisters who struggle to subsist in low paying jobs and little chance for joy. With narrative detachment, Gissing portrays contemporary society's blatant ambivalence towards its own period of transition. Judged by contemporary critics to be as provocative as Zola and Ibsen, Gissing produced an "intensely modern" work as the issues it raises remain the subject of contemporary debate.

    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.

    With intriguing portraits of Percy Bysshe Shelley and Lord Byron, the novel offers a vision of the future that expresses a reaction against Romanticism, and demonstrates the failure of the imagination and of art to redeem the doomed characters.

    Samuel Butler's autobiographical account of a harsh upbringing and troubled adulthood shines an iconoclastic light on the hypocrisy of a Victorian clerical family's domestic life. It also foreshadows the crumbling of nineteenth-century bourgeois ideals in the aftermath of the First World War, as well as the ways in which succeeding generations have questioned conventional values. Hailed by George Bernard Shaw as "one of the summits of human achievement," this chronicle of the life and loves of Ernest Pontifex spans four generations, focusing chiefly on the relationship between Ernest and his father, Theobald. Written in the wake of Darwin's Origin of Species, it reflects the dawning consciousness of heredity and environment as determinants of character. Along the way, it offers a powerfully satirical indictment of Victorian England's major institutions—the family, the church, and the rigidly hierarchical class structure.

    A version of the story was published in the magazine Whirlwind in 1890, and Machen revised and extended it for its book publication (together with another story, "The Inmost Light") in 1894. On publication it was widely denounced by the press as degenerate and horrific because of its decadent style and sexual content, although it has since garnered a reputation as a classic of horror. Machen’s story was only one of many at the time to focus on Pan as a useful symbol for the power of nature and paganism. The title was taken from the poem "A Musical Instrument" published in 1862 by Elizabeth Barrett Browning, in which the first line of every stanza ends "... the great god Pan.

    Immensely popular for years, the novel led to a hit play, a series of popular films, Trilby products from hats to ice-cream, and streets in Florida named after characters in the book. The setting reflects Du Maurier's bohemian years as an art student in Paris before he went to London to make a career in journalism. A celebrated caricaturist for Punch magazine, Du Maurier's drawings for the novel--of which his most significant are included here--form a large part of its appeal.

    A novel that chronicles the lives of two women who could not be more different: Becky Sharp, an orphan whose only resources are her vast ambitions, her native wit, and her loose morals; and her schoolmate Amelia Sedley, a typically naive Victorian heroine, the pampered daughter of a wealthy family.

    But when she falls in love with Bosinney, a penniless architect who utterly rejects the Forsyte values, their affair touches off a series of events which can only end in disgrace and disaster.John Galsworthy tackles his theme of the demise of the upper-middle classes with irony and compassion.

    Lucas, Lucia to her intimates, resides in the village of Riseholme, a pretty Elizabethan village in Worcestershire, where she vigorously guards her status as "Queen" despite occasional attempts from her subjects to overthrow her. Lucia’s dear friend Georgie Pillson both worships Lucia and occasionally works to subvert her power.

    Amid bloody and eerie scenes, his daughter is possessed by Tera's soul, and her fate depends upon bringing Tera's mummified body to life.

    Ellen Wood played upon the anxieties of the Victorian middle classes who feared a breakdown of the social order as divorce became more readily available and promiscuity threatened the sanctity of the family. In her novel the simple act of hiring a governess raises the spectres of murder, disguise, and adultery. Her sensation novel was devoured by readers from the Prince of Wales to Joseph Conrad and continued to fascinate This edition returns for the first time to the racy, slang-ridden narrative of the first edition, rather than the subsequent stylistically 'improved' versions hitherto reproduced by modern editors.

    Until one moonlit night, a horse-drawn carriage crashes into view, carrying an unexpected guest – the beautiful Carmilla. So begins a feverish friendship between Laura and her mysterious, entrancing companion. But as Carmilla becomes increasingly strange and volatile, prone to eerie nocturnal wanderings, Laura finds herself tormented by nightmares and growing weaker by the day… Pre-dating Dracula by twenty-six years, Carmilla is the original vampire story, steeped in sexual tension and gothic romance.

    The story follows thirty-something Emily who lives alone, humbly and happily, in a tiny apartment and on a meager income. She is the one that everyone counts on but no one goes out of their way to accommodate. Her fortune changes, however, and the second half chronicles her adaptation to her new life and the dangers that arise from those who stand to lose most from her new circumstances.

    Byatt returns to the territory she explored in Possession: the landscape of Victorian England, where science and spiritualism are both popular manias, and domestic decorum coexists with brutality and perversion. Angels and Insects is "delicate and confidently ironic.... Byatt perfectly blends laughter and sympathy [with] extraordinary sensuality" (San Francisco Examiner).