Like her contemporaries, Maria Edgeworth and Jane Austen, Susan Ferrier adopts an ideal of rational domesticity, illustrating the virtues of a reasonable heroine who learns to act for herself. This new edition features an introduction incorporating recent critical work on national identity and gender, and firmly situating the novel within the context of both Scottish literature and women's writing.

    When Verloc is reluctantly involved in an anarchist plot to blow up the Greenwich Observatory things go disastrously wrong, and what appears to be "a simple tale" proves to involve politicians, policemen, foreign diplomats, and London's fashionable society in the darkest and most surprising interrelations.Based on the text which Conrad's first English readers enjoyed, this new edition includes a full and up-to-date bibliography, a comprehensive chronology and a critical introduction which describes Conrad's great London novel as the realization of a "monstrous town," a place of idiocy, madness, criminality, and savage butchery. It also discusses contemporary anarchist activity in the UK, imperialism, and Conrad's narrative techniques.

    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.

    This is the first edition to present the novel as it originally appeared, with indications of the changes Carlyle made to later editions.

    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.

    For the Fourth Edition, the editor has collated the 1847 text with several modern editions and has corrected a number of variants, including accidentals. The text is accompanied by entirely new explanatory annotations.New to the fourth Edition are twelve of Emily Bronte's letters regarding the publication of the 1847 edition of Wuthering Heights as well as the evolution of the 1850 edition, prose and poetry selections by the author, four reviews of the novel, and poetry selections by the author, four reviews of the novel, and Edward Chitham's insightful and informative chronology of the creative process behind the beloved work.Five major critical interpretations of Wuthering Heights are included, three of them new to the Fourth Edition. A Stuart Daley considers the importance of chronology in the novel. J. Hillis Miller examines Wuthering Heights's problems of genre and critical reputation. Sandra M. Gilbert assesses the role of Victorian Christianity plays in the novel, while Martha Nussbaum traces the novel's romanticism. Finally, Lin Haire-Sargeant scrutinizes the role of Heathcliff in film adaptations of Wuthering Heights. A Chronology and updated Selected Bibliography are also included.

    It tells the story of the Fall of Man, a tale of immense drama and excitement, of rebellion and treachery, of innocence pitted against corruption, in which God and Satan fight a bitter battle for control of mankind's destiny. The struggle rages across three worlds - heaven, hell, and earth - as Satan and his band of rebel angels plot their revenge against God. At the center of the conflict are Adam and Eve, who are motivated by all too human temptations but whose ultimate downfall is unyielding love.Marked by Milton's characteristic erudition, Paradise Lost is a work epic both in scale and, notoriously, in ambition. For nearly 350 years, it has held generation upon generation of audiences in rapt attention, and its profound influence can be seen in almost every corner of Western culture.

    Seventy years later, released by widowhood, and to the dismay of her pompous children, she abandons the family home for a tiny house in Hampstead. Here she recollects the dreams of youth, and revels in her newfound freedom with her odd assortment of companions: Genoux, her French maid; Mr. Bucktrout, her house agent; and a coffin maker who pictures people dead in order to reveal their true characters. And then there's Mr. FitzGeorge, an eccentric millionaire who met and loved her in India when she was young and very lovely. It is here in this world of her own that she finds a passion that comes only with the freedom to choose, and it is this, her greatest gift, that she passes on to the only one who can understand its value. First published in 1931, Vita Sackville-West's masterpiece is the fictional companion to her great friend Virginia Woolf's A Room of One's Own.

    The novel follows Victoria's progress from spoilt daughter of indulgent aristocrats, through a period of abuse and captivity, to a career of deepening criminality conducted under Satan's watchful eye. Charlotte Dacre's narrative deftly displays her heroine's movement from the vitalized position of Ann Radcliffe's heroines to a fully conscious commitment to vice that goes beyond that of 'Monk' Lewis's deluded Ambrosio. The novel's most daring aspect is its anatomy of Victoria's intense sexual attraction to her Moorish servant Zofloya that transgresses taboos both of class and race. A minor scandal on its first publication, and a significant influence on Byron and Shelley, Zofloya has been unduly neglected. Contradicting idealized stereotypes of women's writing, the novel's portrait of indulged desire, gratuitous cruelty, and monumental self-absorption retains considerable power to disturb.

    and the wild speculation schemes that exploded across the nation in the years that followed the Civil War, The Gilded Age gave this remarkable era its name. Co-written by Mark Twain and Charles Dudley Warner, this rollicking novel is rife with unscrupulous politicians, colorful plutocrats, and blindly optimistic speculators caught up in a frenzy of romance, murder, and surefire deals gone bust. First published in 1873 and filled with unforgettable characters such as the vainglorious Colonel Sellers and the ruthless Senator Dilsworthy, The Gilded Age is a hilarious and instructive lesson in American history.Introduction by Ron PowersIncludes Newly Commissioned Endnotes

    Scott Fitzgerald's romantic and witty first novel, was written when the author was only twenty-three years old. This semi-autobiographical story of the handsome, indulged, and idealistic Princeton student Amory Blaine received critical raves and catapulted Fitzgerald to instant fame. Now, readers can enjoy the newly edited, authorized version of this early classic of the Jazz Age, based on Fitzgerald's original manuscript. In this definitive text, This Side of Paradise captures the rhythms and romance of Fitzgerald's youth and offers a poignant portrait of the "Lost Generation."

    These matching masterpieces satirize the social world Eden knew, loved, and laughed at. Like Jane Austen she is concerned with love and marriage, money and manners. But her voice is distinct. Eden's charm and humor - both above- and belowstairs - and her sharp social commentary make her work enduringly captivating.

    Set in the seventeenth century, it tells the story of a country and a family riven by war, and features one of fiction's most original heroines.Honor Harris is only eighteen when she first meets Richard Grenvile, proud, reckless - and utterly captivating. But following a riding accident, Honor must reconcile herself to a life alone. As Richard rises through the ranks of the army, marries and makes enemies, Honor remains true to himAs the English Civil war is waged across the country, Richard rises through the ranks of the army, marries and makes enemies, and Honor remains true to him, and finally discovers the secret of Menabilly.Decades later, an undaunted Sir Richard, now a general serving King Charles I, finds her. Finally they can share their passion in the ruins of her family's great estate on the storm-tossed Cornish coast-one last time before being torn apart, never to embrace again.

    Lovelace, however, proves himself to be an untrustworthy rake whose vague promises of marriage are accompanied by unwelcome and increasingly brutal sexual advances. And yet, Clarissa finds his charm alluring, her scrupulous sense of virtue tinged with unconfessed desire. Told through a complex series of interweaving letters, "Clarissa" is a richly ambiguous study of a fatally attracted couple and a work of astonishing power and immediacy. A huge success when it first appeared in 1747, and translated into French and German, it remains one of the greatest of all European novels. Its rich ambiguities - our sense of Clarissa's scrupulous virtue tinged with intimations of her capacity for self-deception in matters of sex; the wicked and amusing faces of Lovelace, who must be easily the most charming villain in English literature - give the story extraordinary psychological momentum. .

    Shaw drew not only on Byron's verse satire, but also on Shakespeare, the Victorian comedy fashionable in his early life, and from authors from Conan Doyle to Kipling. In this powerful drama of ideas, Shaw explores the role of the artist, the function of women in society, and his theory of Creative Evolution. As Stanley Weintraub says in his new introduction, this is "the first great twentieth-century English play" and remains a classic exposé of the eternal struggle between the sexes.