The journey is triggered by a mysterious package left to Leo by his father, to be opened on his 25th birthday; the package contains an ancient shard of pottery and several documents, suggesting an ancient mystery about the Vincey family. Holly and Leo eventually arrive in eastern Africa where they encounter a primitive race of natives and a mysterious white queen, Ayesha, who reigns as the all-powerful "She" or "She-who-must-be-obeyed" and who has a mysterious connection to young Leo. The story expresses numerous racial and evolutionary conceptions of the late Victorians, especially notions of degeneration and racial decline prominent during the fin de siècle. In the figure of She, the novel notably explored themes of female authority and feminine behaviour. It has received praise and criticism alike for its representation of womanhood. (From Wikipedia)

    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.

    In the New York society of the 1870s, however, only those with old money can achieve the status of the elite, and it is here that the sisters seem doomed to failure.Nan's new governess, Laura Testvalley, herself an outsider, takes pity on their plight and launches them instead on the unsuspecting British aristocracy. Lords, dukes, marquesses and MPs, it seems, not only appreciate beauty, but also the money that New York's nouveaux riches can supply.A love story of love and marriage among the old and new moneyed classes, The Buccaneers is a delicately perceptive portrayal of a world on the brink of change.

     London, 1853. Annie Stride is a beautiful, flame-haired young woman from the East End of London. She is also a whore. On a bleak January night Annie stands on Waterloo Bridge, watching the icy waters of the Thames writhe beneath her as she contemplates throwing herself in. At the last minute she's rescued by a handsome young man. Her saviour, Francis Maybrick Gill, is a talented artist. He takes Annie as his muse, painting her again and again and transforming her from a fallen woman into society's darling, taking her far away from her old life. But there is darkness underpinning Annie's lavish new lifestyle. In London and in Florence, prostitutes are being murdered. There's someone out there who knows who Annie really is - and they won't let her forget where she came from...

    She had never met its powerful and mysterious Professor Alexi Rychman, knew nothing of the growing shadows, of the Ripper and other supernatural terrors against which his coterie stood guard. She saw simply that she was different, haunted, with her snow white hair, pearlescent skin and uncanny gift. This arched stone doorway was a portal to a new life, to an education far from what could be had at a convent -- and it was an invitation to an intimate yet dangerous dance at the threshold of life and death...

    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.

    On 7th November 1843, Harriet Monckton, 23 years old and a woman of respectable parentage and religious habits, was found murdered in the privy behind the dissenting chapel she had regularly attended in Bromley, Kent. The community was appalled by her death, apparently as a result of swallowing a fatal dose of prussic acid, and even more so when the autopsy revealed that Harriet was six months pregnant. Drawing on the coroner's reports and witness testimonies, the novel unfolds from the viewpoints of each of the main characters, each of whom have a reason to want her dead. Harriet Monckton had at least three lovers and several people were suspected of her murder, including her close companion and fellow teacher, Miss Frances Williams. The scandal ripped through the community, the murderer was never found and for years the inhabitants of Bromley slept less soundly. This rich, robust novel is full of suggestion and suspicion, with the innocent looking guilty and the guilty hiding behind their piety. It is also a novel that exposes the perilous position of unmarried women, the scandal of sex out of wedlock and the hypocrisy of upstanding, church-going folk.

    A lonely art historian absorbed in her research seizes the opportunity to share in the joys and pleasures of the lives of a glittering couple, only to find her hopes of companionship and happiness shattered.

    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.

    Actual opening line of the novel is: "To J. Halford, Esq. Dear Halford, when we were together last..."This is the story of a woman's struggle for independence. Helen "Graham" has returned to Wildfell Hall in flight from a disastrous marriage. Exiled to the desolate moorland mansion, she adopts an assumed name and earns her living as a painter.

    For this is the eve of the Battle of Waterloo, and many of the handsome young men attending the ball will find themselves, the very next day, on the battlefield.For Sophia Trenchard, the young and beautiful daughter of Wellington's chief supplier, this night will change everything. But it is only twenty-five years later, when the upwardly mobile Trenchards move into the fashionable new area of Belgravia, that the true repercussions of that moment will be felt. For in this new world, where the aristocracy rub shoulders with the emerging nouveau riche, there are those who would prefer the secrets of the past to remain buried...

    A potter's assistant by day and dress lodger by night, Gustine sells herself for necessity in a rented gown, scrimping to feed and protect her only love: her fragile baby boy. She holds a glimmer of hope after meeting Dr. Henry Chiver, a prisoner of his own dark past. But in a world where suspicion of medicine runs rampant like a fever, these two lost souls will become irrevocably linked, as each crosses lines between rich and destitute, decorum and abandon, damnation and salvation. By turns tender and horrifying, The Dress Lodger is a captivating historical thriller charged with a distinctly modern voice. . . .

    She has never met her Aunt Minerva Broome, and hardly knows what to expect at majestic country home of Staplewood. Her aunt, uncle, and cousin welcome her to their estate, buy her new clothes, and provide all the amenities a young lady of quality should have. Soon, Kate begins noticing strange things about the manor. Though the guests are few, even family dinners are formal. Unexplained noises and events occur in the night. Surrounded by her domineering Aunt, handsome but moody cousin Torquil, and cousin Philip, who appears to have taken her in instant dislike, Staplewood soon turns from an inviting stately house to a cold and gloomy mansion

    In an age of rapid scientific progress, the idea of a vindictive past able to reach out and violate the present held a special potential for terror. Throughout the nineteenth century, fictional ghost stories developed in parallel with the more general Victorian fascination with death and what lay beyond it. Though they were as much a part of the cultural and literary fabric of the age as imperial confidence, the best of the stories still retain their original power to surprise and unsettle. In Victorian Ghost Stories, the editors map out the development of the ghost story from 1850 to the early years of the twentieth century and demonstrate the importance of this form of short fiction in Victorian popular culture. As well as reprinting stories by supernatural specialists such as J. S. Le Fanu and M. R. James, this selection emphasizes the key role played by women writers--including Elizabeth Gaskell, Rhoda Broughton, and Charlotte Riddell--and offers one or two genuine rarities. Other writers represented include Charles Dickens, Henry James, Wilkie Collins, Sir Arthur Conan Doyle, and R. L. Stevenson. There is also a fascinating Introduction and a chronological list of ghost story collections from 1850 to 1910.Includes:The old nurse's story by Elizabeth GaskellAn account of some strange disturbances in Aungier Street by J.S. Le FanuThe miniature by J.Y. AkermanThe last house in C-Street by Dinah MulockTo be taken with a grain of salt by Charles DickensThe Botathen ghost by R.S. HawkerThe truth, the whole truth, and nothing but the truth by Rhoda BroughtonThe romance of certain old clothes by Henry JamesPichon & Sons, of the Croix Rousse by AnonymousReality or delusion? by Mrs Henry WoodUncle Cornelius, his story by George MacDonaldThe shadow of a shade by Tom HoodAt Chrighton Abbey by Mary Elizabeth BraddonNo living voice by Thomas Street MillingtonMiss Jéromette and the clergyman by Wilkie CollinsThe story of Clifford House by AnonymousWas it an illusion? by Amelia B. EdwardsThe open door by Charlotte RiddellThe captain of the "Pole-star" by Sir Arthur Conan DoyleThe body-snatcher by Robert Louis StevensonThe story of the rippling train by Mary Louisa MolesworthAt the end of the passage by Rudyard Kipling"To let" by B.M. CrokerJohn Charrington's wedding by E. NesbitThe haunted organist of Hurly Burly by Rosa MulhollandThe man of science by Jerome K. JeromeCanon Alberic's scrap-book by M.R. JamesJerry Bundler by W.W. JacobsAn Eddy on the floor by Bernard CapesThe tomb of Sarah by F.G. LoringThe case of Vincent Pyrwhit by Barry PainThe shadows on the wall by Mary E. WilkinsFather Macclesfield's tale by R.H. BensonThurnley Abbey by Perceval LandonThe kit-bag by Algernon Blackwood

    He is just a boy when his father is slain by the Doones, a lawless clan inhabiting wild Exmoor on the border of Somerset and Devon. Seized by curiosity and a sense of adventure, he makes his way to the valley of the Doones, where he is discovered by the beautiful Lorna. In time their childish fantasies blossom into mature love—a bond that will inspire John to rescue his beloved from the ravages of a stormy winter, rekindling a conflict with his archrival, Carver Doone, that climaxes in heartrending violence. Beloved for its portrait of star-crossed lovers and its surpassing descriptions of the English countryside, Lorna Doone is R. D. Blackmore’s enduring masterpiece.