This story is brutal and shockingly unpredictable. In the year 1823, at the height of the British Empire and the colonization of Australia, Pat Roche sits on board a convict ship, sentenced for the term of his natural life to the New Colonies. All hope of ever seeing his wife and child again appeared to be lost. The ship is a fraught with tension under such a strict military guard; with one hundred and fifty criminals confined to a small space, it can only mean trouble. By the time the ship arrives at Van Dieman’s Land, there will be fighting, flogging, rape, murder and mutiny. Pat Roche will find himself involved in it all. Sarah Roche has now been shunned by the local community and is struggling to fend for herself and her little boy. There is a terrible turn of events and she is soon to follow in her husband’s footsteps. So too will a desperate voyage begin for her on board the female convict ship, otherwise known as ‘Floating Brothels’. She arrives in Hobart a broken woman, only regaining her strength after a fleeting moment with her husband. Pat is being taken away to a place of unbearable torment; the notorious Sarah Island settlement, where escape is punishable by death. Many colourful characters weave their way through the pages, creating a plot intertwined with deceit, retribution, murder, tragedy and enduring love, resulting in a heart wrenching climax.For Pat Roche, when there is nothing more worth living for, a chance to escape and find his family is worth dying for.

    Fully grounded in sound literary and historical scholarship, the anthology takes a fresh approach to many canonical authors, and includes a wide selection of work by lesser-known writers. The anthology also provides wide-ranging coverage of the worldwide connections of British literature, and it pays attention throughout to issues of race, gender, class, and sexual orientation. It includes comprehensive introductions to each period, providing in each case an overview of the historical and cultural as well as the literary background. It features accessible and engaging headnotes for all authors, extensive explanatory annotations throughout, and an unparalleled number of illustrations and contextual materials, offering additional perspectives both on individual texts and on larger social and cultural developments. Innovative, authoritative, and comprehensive, The Broadview Anthology of British Literature embodies a consistently fresh approach to the study of literature and literary history. The full Broadview Anthology of British Literature comprises six bound volumes, together with an extensive website component; the latter has been edited, annotated, and designed according to the same high standards as the bound book component of the anthology, and is accessible online by using the passcode obtained with the purchase of one or more of the bound volumes. The six individual bound volumes are also available in any combination at special package prices. Highlights of Volume 1: The Medieval Period include: Roy Liuzza's acclaimed translation of Beowulf, along with new translations by Liuzza of many other works of Old English poetry and prose; a powerful new verse translation of Judith by Stephen Glosecki; new translations of some of the Lais of Marie de France by Claire Waters; and newly edited texts of eight of The Canterbury Tales, supplemented by a wide variety of contextual materials.

    The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain). However, some Welsh and Breton tales and poems relating the story of Arthur date from earlier than this work; in these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown. Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over Britain, Ireland, Iceland, Norway and Gaul. In fact, many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the wizard Merlin, the sword Excalibur, Arthur's birth at Tintagel, his final battle against Mordred at Camlann and final rest in Avalon. The 12th-century French writer Chretien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media. The Sir James Knowles version of King Arthur is considered as the most accurate and well known original story of King Arthur and the Knights of the Round Table.

    This selection of De Quincey's writings includes the title piece - his most famous work - as well as On the Knocking at the Gate in Macbeth, The English Mail-Coach, and the Suspiria de Profundis.

    side at the top, and shot into the next hollow, twisting in the descent. A huge swell pushed up exactly under her middle, and her bow and stern hung free with nothing to support them. Then one joking wave caught her up at the bow, and another at the stern, while the rest of the water slunk 251 away from under her just to see how she would like it; so she was held up at her two ends only, and the weight of the cargo and the machinery fell on the groaning iron keels and bilge-stringers. "Ease off! Ease off, there!" roared the garboard-strake. "I want one-eighth of an inch fair play. D' you hear me, you rivets!" "Ease off! Ease off!" cried the bilge-stringers. "Don't hold us so tight to the frames!" "Ease off!" grunted the deck-beams, as the Dimbula rolled fearfully. "You've cramped our knees into the stringers, and we can't move. Ease off, you flat-headed little nuisances." Then two converging seas hit the bows, one on each side, and fell away in torrents of streaming thunder. "Ease off!" shouted the forward collision-bulkhead. "I want to crumple up, but I'm stiffened in every direction. Ease off, you dirty little forge-filings. Let me breathe!" All the hundreds of plates that are riveted to the frames, and make the outside skin of every steamer, echoed the call, for each plate wanted to shift and creep a little, and each plate, according to its position, complained against the rivets. "We can't help it! We can't help it!" they murmured in reply. "We're put here to hold you, and we're going to do it; you never pull us twice in the same direction. If you'd say what 252 you were going to do next, we'd try to meet your views." "As far as I could feel," said the upper-deck planking, and that was four inches thick, "every single iron near me was pushing or pulling in opposite directions. Now, what's the sense of that? My friends, let us all pull together." "Pull any way you please," roared the funnel, "so long as you don't try your experiments on me. I...

    S. Eliot's powerful collections into one. It includes such classic poems as "The Love Song of J. Alfred Prufrock," "Portrait of a Lady," "Preludes," "Gerontion," "Sweeney Among the Nightingales," and "The Waste Land."

    Book annotation not available for this title.Title: The Victorian ChristmasAuthor: Selby, AnnaPublisher: Casemate Pub & Book Dist LlcPublication Date: 2008/12/19Number of Pages: 186Binding Type: HARDCOVERLibrary of Congress: 2009293811

    It is, in its earliest form, a spontaneous and instinctive endeavor to shape the facts of the world to meet the needs of the imagination, the cravings of the heart.Classics included in this volume include:One Eye, Two Eyes, Three Eyes,The Magic Mirror,The Enchanted Stag,Hansel and Grethel,The Story of Aladdin,This Story of Ali Baba,The Second Voyage of Sinbad the Sailor,The White Cat,The Golden Goose,The Twelve Brothers,The Fair One With the Golden Locks,Tom Thumb,Blue Beard,Cinderella,Puss In Boots,The Sleeping Beauty In the Wood,Jack and The Bean-Stalk

    Featuring brand new stories and some old favorites, many of these tell-all, gritty tales were originally published on the blog Make It MAD between 2010 and 2012, and have been rereleased in their originality for this special print and digital anthology.

    Published in 1862, this phantasmagoric tale of two maidens seduced by lewd goblin men provides a startling glimpse into the depths of the Victorian psyche. Full color throughout .

    A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    --Hanoi to Hoboken: a round trip ticket --Living with other women --Take a lesbian to lunch --The last straw --The shape of things to come --Roxanne Dunbar --Gossip --Leadership vs. stardom --The last picture show --A manifesto for the feminist artist --Love song for feminists from Flamingo Park --I am a woman --The good fairy --It's all Dixie cups to me --The lady's not for burning.

    Reprint.

    Beeton's Book of Household Management is a volume of insight and common sense. Written by what one might now describe as a Victorian Martha Stewart, the book offers advice on fashion, child-care, animal husbandry, poisons, and the management of servants. To the modern reader expecting stuffy verbosity or heavy moralizing, Beeton's book is a revelation: it explores the foods of Europe and beyond, suggesting new food stuffs and techniques, mixing domestic advice with discussions of science, religion, class, industrialism and gender roles. Alternately frugal and fashionable, anxious and self confident, the book highlights the concerns of the growing Victorian middle-class at a key moment in its history. This abridged edition serves as a cookery book, while documenting a significant aspect of Victorian social and cultural history.

    This well-chosen and comprehensive collection offers a compact and affordable alternative to larger and more expensive anthologies.