The sketches, poems, and stories of black rural and urban life that make up Cane are rich in imagery. Visions of smoke, sugarcane, dusk, and flame permeate the Southern landscape: the Northern world is pictured as a harsher reality of asphalt streets. Impressionistic, sometimes surrealistic, the pieces are redolent of nature and Africa, with sensuous appeals to eye and ear.

    As she describes her heroine's entry into society, womanhood and, inevitably, love, Burney exposes the vulnerability of female innocence in an image-conscious and often cruel world where social snobbery and sexual aggression are played out in the public arenas of pleasure-gardens, theatre visits, and balls. But Evelina's innocence also makes her a shrewd commentator on the excesses and absurdities of manners and social ambitions—as well as attracting the attention of the eminently eligible Lord Orville. Evelina, comic and shrewd, is at once a guide to fashionable London, a satirical attack on the new consumerism, an investigation of women's position in the late eighteenth century, and a love story. The new introduction and full notes to this edition help make this richness all the more readily available to a modern reader.

    They carry with them everything they believe they will need from home, but soon find that all of it -- from garden seeds to Scripture -- is calamitously transformed on African soil. What follows is a suspenseful epic of one family's tragic undoing and remarkable reconstruction over the course of three decades in postcolonial Africa.

    In 1949, four Chinese women, recent immigrants to San Francisco, meet weekly to play mahjong and tell stories of what they left behind in China. United in loss and new hope for their daughters' futures, they call themselves the Joy Luck Club. Their daughters, who have never heard these stories, think their mothers' advice is irrelevant to their modern American lives – until their own inner crises reveal how much they've unknowingly inherited of their mothers' pasts. With wit and sensitivity, Amy Tan examines the sometimes painful, often tender, and always deep connection between mothers and daughters. As each woman reveals her secrets, trying to unravel the truth about her life, the strings become more tangled, more entwined. Mothers boast or despair over daughters, and daughters roll their eyes even as they feel the inextricable tightening of their matriarchal ties. Tan is an astute storyteller, enticing readers to immerse themselves into these lives of complexity and mystery.

    Her father, a famous musician, dies, and she is raised in the Paris Opera House with his dying promise of a protective angel of music to guide her. After a time at the opera house, she begins hearing a voice, who eventually teaches her how to sing beautifully. All goes well until Christine's childhood friend Raoul comes to visit his parents, who are patrons of the opera, and he sees Christine when she begins successfully singing on the stage. The voice, who is the deformed, murderous 'ghost' of the opera house named Erik, however, grows violent in his terrible jealousy, until Christine suddenly disappears. The phantom is in love, but it can only spell disaster.Leroux's work, with characters ranging from the spoiled prima donna Carlotta to the mysterious Persian from Erik's past, has been immortalized by memorable adaptations. Despite this, it remains a remarkable piece of Gothic horror literature in and of itself, deeper and darker than any version that follows.

    O'Connor herself singled it out by making it the title piece of her first collection and the story she most often chose for readings or talks to students. It is an unforgettable tale, both riveting and comic, of the confrontation of a family with violence and sudden death. More than anything else O'Connor ever wrote, this story mixes the comedy, violence, and religious concerns that characterize her fiction.This casebook for the story includes an introduction by the editor, a chronology of the author's life, the authoritative text of the story itself, comments and letters by O'Connor about the story, critical essays, and a bibliography. The critical essays span more than twenty years of commentary and suggest several approaches to the story--formalistic, thematic, deconstructionist-- all within the grasp of the undergraduate, while the introduction also points interested students toward still other resources. Useful for both beginning and advanced students, this casebook provides an in-depth introduction to one of America's most gifted modern writers.

    Here all five volumes that make up the story are published in one volume, as White himself always wished. Exquisite comedy offsets the tragedy of Arthur′s personal doom as White brings to life the major British epic of all time with brilliance, grandeur, warmth and charm.

    The six-day excursion becomes a journey into the past of Stevens and England, a past that takes in fascism, two world wars, and an unrealised love between the butler and his housekeeper.

    The first and most terrifying monster in English literature, from the great early epic Beowulf, tells his side of the story in a book William Gass called "one of the finest of our contemporary fictions."

    doomed to perish in tortures the most severe'Shocking, erotic and violent, The Monk is the story of Ambrosio, torn between his spiritual vows and the temptations of physical pleasure. His internal battle leads to sexual obsession, rape and murder, yet this book also contains knowing parody of its own excesses as well as social comedy. Written by Matthew Lewis when he was only nineteen, it was a ground-breaking novel in the Gothic Horror genre and spawned hundreds of imitators, drawn in by its mixture of bloodshed, sex and scandal.

    Yet friendships flourish among these Lonely Londoners and, in time, they learn to survive.

    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.

    Their niece, Lois Farquar, attempts to live her own life and gain her own freedoms from the very class that her elders are vainly defending. The Last September depicts the tensions between love and the longing for freedom, between tradition and the terrifying prospect of independence, both political and spiritual.

    She soon escapes her fate for the loving arms of a wealthy young man, but misadventure and fate conspire to keep her from domestic bliss. Instead, Fanny discovers that sex need not be just for love; that it can be had for pleasure. She then sets out to explore those pleasures in as wide a variety as she can. With old men and young, and women as well; in positions of power, and situations where she has none; either watching or participating, Fanny's journey through the realms of sexual pleasure is a literary tour-de-force.

    His friends and foes know him only as the Scarlet Pimpernel. But the ruthless French agent Chauvelin is sworn to discover his identity and to hunt him down.