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.

    Their first biographer, Mrs Gaskell, transformed their story of literary ambition into one of the great legends of the 19th century, a dramatic tale of three lonely sisters playing out their tragic destiny on top of a windswept moor. Lucasta Miller reveals where this image came from and how it took such a hold on the popular imagination.Each generation has rewritten the Brontës to reflect changing attitudes - towards the role of the woman writer, towards sexuality, towards the very concept of personality. The Brontë Myth gives vigorous new life to our understanding of the novelists and their culture. It is a witty, erudite and refreshingly unsentimental unravelling of what Henry James described as "the most complete intellectual muddle ever achieved on a literary question by our wonderful public."

    It is and based on Elizabeth's own experiences.Excerpt from Aurora Leigh: A Poem in Nine Books Aurora Leigh. First Book. Of writing many books there is no end;And I, who have written much in prose and verseFor others' uses, will write now for mine, -Will write my story for my better self, As when you paint your portrait for a friend, Who keeps it in a drawer, and looks at itLong after he has ceased to love you, justTo hold together what he was and is. I, writing thus, am still what men call youngI have not so far left the coasts of lifeTo travel inland, that I cannot hearThat murmur of the outer InfiniteWhich unweaned babies smile at in their sleepWhen wondered at for smiling; not so far, But still I catch my mother at her postBeside the nursery-door, with finger up, "Hush, hush, here's too much noise!" while her sweet eyesLeap forward, taking part against her wordIn the child's riot. Still I sit, and feelMy father's slow hand, when she has left us both, Stroke out my childish curls across his knee, And hear Assunta's daily jest (she knewHe liked it better than a better jest)Inquire how many golden scudi wentTo make such ringlets. O my father's hand, Stroke heavily, heavily, the poor hair down, Draw, press the child's head closer to thy knee!I'm still too young, too young, to sit alone.

    In a cold parsonage on the gloomy Yorkshire moors, a family seems cursed with disaster. A mother and two children dead. A father sick, without fortune, and hardened by the loss of his two most beloved family members. A son destroyed by alcohol and opiates. And three strong, intelligent young women, reduced to poverty and spinsterhood, with nothing to save them from their fate. Nothing, that is, except their remarkable literary talent.So unfolds the story of the Brontë sisters. At its center are Charlotte and the writing of Jane Eyre. Delicately unraveling the connections between one of fiction's most indelible heroines and the remarkable woman who created her, Sheila Kohler's Becoming Jane Eyre will appeal to fans of historical fiction and, of course, the millions of readers who adore Jane Eyre.

    It is narrated from the perspectives of multiple characters, a technique used to create suspense in many of the "sensation novels" pioneered by Wilkie Collins and others in the 1860s, as well as in many late nineteenth-century novels such as Dracula.Richard Marsh was the pseudonym of the British author, Richard Bernard Heldmann.

    One hundred fifty years later, Clare Boylan has finished Brontë's novel, sparking a sensational literary event. With pitch-perfect tone that is utterly true to Brontë's voice, Boylan delivers a brilliant tale about a mysterious young girl, Matilda, who is delivered to a girls' school in provincial England. When everything about the girl's wealthy background turns out to be a fiction, it falls to a local gentleman, Mr. Ellin, and a childless widow, Isabel Chalfont, to begin a quest for her past and her identity that takes them from the drawing rooms of country society to London's seamiest alleys. With all the intelligence and pathos of the novel's originator, Boylan develops Brontë's sketch of a girl without a past into a stunning portrait of Victorian society with a shameful secret at its heart.

    Included are: Alice's Adventures in Wonderland, Through the Looking-Glass, Sylvie and Bruno, Sylvie and Bruno Concluded, "The Hunting of the Snark," and Lewis' poetry, phantasmagoria, stories, miscellany, and "acrostics, inscriptions, and other verse."The following have also never appeared in print except in their original editions: "Resident Women Students," "Some Popular Fallacies about Vivisection," "Lawn Tennis Tournaments," "Rules for Court Circular," "Croquet Castles," "Mischmasch," "Doublets," "A Postal Problem," "The Alphabet-Cipher," and "Introduction to The Lost Plum Cake."

    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.

    She thinks she sees through everyone and rules over a family of dependents with knowing cynicism. But there are two people in Redborough who resist her. One is Hester, a young relation with a personality as strong as Catherine's, and as determined to find a role for herself. The other is Edward, who Catherine treats like a son. Conflict between the young and the old is inevitable, and in its depiction of the complex relationships that develop between the three principal characters, Hester is a masterpiece of psychological realism. In exploring the difficulty of understanding human nature, it is also a compulsive story of financial and sexual risk-taking that inevitably results in a searing climax.Margaret Oliphant is one of the great Victorian novelists, and this edition re-establishes her importance.

    Unsettled by a sense of intense evil within the house, she soon becomes obsessed with the belief that malevolent forces are stalking the children in her care. Obsession of a more worldly variety lies at the heart of The Aspern Papers, the tale of a literary historian determined to get his hands on some letters written by a great poet-and prepared to use trickery and deception to achieve his aims. Both works show James's mastery of the short story and his genius for creating haunting atmosphere and unbearable tension.Anthony Curtis's wide-ranging introduction traces the development of the two stories from initial inspiration to finished work and examines their critical reception.

    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.

    In his work he brought to life the personalities of a diverse range of characters, and introduced a new immediacy, colloquial energy and psychological complexity to the poetry of his day. This selection brings together verse ranging from early dramatic monologues such as the chilling 'My Last Duchess' and the ribald 'Fra Lippo Lippi', which show his gift for inhabiting the mind of another, to the popular children's poem 'The Pied Piper of Hamelin' and many lesser known works. All display his innovative techniques of diction, rhythm and symbol, which transformed Victorian poetry and influenced major poets of the twentieth century such as Ezra Pound, T. S. Eliot and Robert Frost.

    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.

    For Lucy Ashton and Edgar Ravenswood, acts of heroism are thwarted and love is doomed by social, political and historical division. This edition restores the action to the years of uncertainty and political flux before the Union of Scotland and England in 1707, rather than after, as Scott's later revision had placed it.

    Walking away from her stifling father and the social conventions of her time, she leaves drab suburbia for Edwardian London and encounters an unknown world of suffragettes, Fabians and free love. But it is only when she meets the charismatic Capes that she truly confronts the meaning of her new found freedom. Ann Veronica caused a sensation, damned in the press and preached against from the pulpits when it was first published due to Wells' ground breaking treatment of female sexuality. A fascinating description of the women's suffrage movement, Ann Veronica offers an optimistic depiction of one woman's sexual awakening and search for independence.