The social revolution of women doing jobs previously done by men, also begins to change the relationship between the sexes and the women in the story are aggressive and wanting their rights. But are they happier for conquering the flighty male in the story or is the domination of man by woman one step too far only generating hate and unhappiness?

    The city of Sevilla waits, heavy with anticipation. But Pacote finds he is afraid, and fears disgrace in the ring. Time, once his friend, now presses him on to the moment when the gate opens and the first bull enters the ring. You are there in the stands with the screaming crowd and in the lonely emptiness at the center of the arena with only a red cap and a slender sword. You are there for one of the most magnificent passages ever written on bullfighting. "Conrad, himself a veteran of the bull ring, knows the sport even better than Hemingway. And he writes about it magnificently...a tale of high courage, throbbing with excitement." (B-O-M-C News)

    "His stories, which deluge us with feeling, make feeling more intelligent; more magnanimous. He is an artist of our moral maturity." This volume presents forty-two of Chekhov's later short stories, written between 1888 and 1903, in acclaimed translations by Constance Garnett and chosen by Shelby Foote. Among the most outstanding are "A Dreary Story," a dispassionate tale that reflects Chekhov's doubts about his role as an artist. Thomas Mann deemed it "a truly extraordinary, fascinating story . . . unlike anything else in world literature." "The Darling," a delightful work highly admired by Tolstoy, offers comic proof that life has no meaning without love. And in "The Lady with the Dog," which Vladimir Nabokov called "one of the greatest stories ever written," a chance affair takes possession of a bored young woman and a cynical roué, changing their lives forever. Also included in this collection are the famous trilogy, "The Man in a Case," "Gooseberries," and "About Love," as well as "Sleepy," "The Horse-Stealers," and "Betrothed." "The greatest of Chekhov's stories are, no matter how many times reread, always an experience that strikes deep into the soul and produces an alteration there," wrote William Maxwell. "As for those masterpieces 'The Lady with the Dog,' 'The Horse-Stealers,' 'Sleepy,' 'Gooseberries,' 'About Love'—where else do you see so clearly the difference between light and dark, or how dark darkness can be?" Shelby Foote has provided an Introduction for this edition.

    

    The book's lineup of writers reads like a who's who of classic horror authors from America, Great Britain, and the European continent: Edgar Allan Poe, H. P. Lovecraft, Algernon Blackwood, Arthur Machen, Guy de Maupassant, William Hope Hodgson, Ambrose Bierce, Edith Wharton, and more. Its selections include some of the finest weird tales ever published, among them Lovecraft's "The Colour out of Space," Blackwood's "The Willows," Poe's "The Fall of the House of Usher," Bierce's "An Occurrence at Owl Creek Bridge," Robert Louis Stevenson's "The Body-Snatcher," William Fryer Harvey's "August Heat," and W. W. Jacobs's "The Monkey's Paw." Classic Horror Stories is one of Barnes & Noble's Collectible Editions classics. Each volume features authoritative texts by the world's greatest authors in an exquisitely designed bonded-leather binding, with distinctive gilt edging and a ribbon bookmark. Decorative, durable, and collectible, these books offer hours of pleasure to readers young and old and are an indispensable cornerstone for every home library.

    Originally designed for teaching English as a foreign language, the series' combination of high interest level and low reading age makes it suitable for both English-speaking teenagers with limited reading skills and students of English as a second language. Many titles in the series also provide access to the pre-20th century literature strands of the National Curriculum English Orders.

    Also, at the beginning of each book are references to chapters that appear in the book.Table of Contents:#1 The Three Musketeers#2 Twenty Years After#3 The Vicomte de Bragelonne#4 Ten Years Later #5 Louise de la Valliere#6 The Man in the Iron Mask

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Walker touches the arm of his mother's dead friend at her wake service and whispers the wish that she wouldn't be dead, he's just trying to do the right thing. But when the undertaker sees the woman's rosary sliding off her outstretched fingers and tumbling down her raised left arm, the firestorm can't be held in check. Frightened people near and far demand to know how many of their own loved ones might have been buried alive by the same undertaker, or by any undertaker. But proof that C.J. Walker can indeed raise the dead is secretly videoed, then publicly aired. In a single morning, C.J.'s mother, Lynn, watches their home becoming a fortress and her son becoming a target. Grieving individuals desperate to see death let go of their loved ones; representatives from news, medical, and scientific organizations; influential religious representatives; and powerful government agencies all move in to gain maximum positions of influence over the greatest power on earth. Through the ordeal, Lynn and her separated husband, Joe, struggle to find a way to escape with C.J., to keep him hidden from every pursuer, and somehow to make it possible for him to live a normal life again. But to do it all they must act quickly, before he's stolen away by authorities in high places.

    After their expulsion from paradise, Eve gives birth to Cain, watched over by a scheming Lucifer-who seeks to share the power of a God now angered by the errant ways of his creations. In the concluding portion of the play, with mounting dramatic intensity, Cain kills his brother, Abel, and is sent out as a wanderer, as the final dilemma is explored: "When every man wants justice, why does he go on creating injustice?" Throughout the action, which alternates scenes of sprightly humor with absorbing confrontations between God and Lucifer and God and his fallible creations, the striking pertinence of the play becomes ever more clear. It is a parable for our time, and all time, rich with philosophic insights and alive with vivid theatricality.

    Bug-Jargal is one of the most important works of nineteenth-century colonial fiction, and quite possibly the most sustained novelistic treatment of the Haitian Revolution by a major European author.

    It tells the story of Cécile, who leads a carefree life with her widowed father and his young mistresses until, one hot summer on the Riviera, he decides to remarry - with devastating consequences. In A Certain Smile Dominique, a young woman bored with her lover, begins an encounter with an older man that unfolds in unexpected and troubling ways. These two acerbically witty and delightfully amoral tales about the nature of love are shimmering masterpieces of cool-headed, brilliant observation.

    Gordon Comstock has declared war on the money god; and Gordon is losing the war. Nearly 30 and "rather moth-eaten already," a poet whose one small book of verse has fallen "flatter than any pancake," Gordon has given up a "good" job and gone to work in a bookshop at half his former salary. Always broke, but too proud to accept charity, he rarely sees his few friends and cannot get the virginal Rosemary to bed because (or so he believes), "If you have no money ... women won't love you." On the windowsill of Gordon's shabby rooming-house room is a sickly but unkillable aspidistra--a plant he abhors as the banner of the sort of "mingy, lower-middle-class decency" he is fleeing in his downward flight.In Keep the Aspidistra Flying, George Orwell has created a darkly compassionate satire to which anyone who has ever been oppressed by the lack of brass, or by the need to make it, will all too easily relate. He etches the ugly insanity of what Gordon calls "the money-world" in unflinching detail, but the satire has a second edge, too, and Gordon himself is scarcely heroic. In the course of his misadventures, we become grindingly aware that his radical solution to the problem of the money-world is no solution at all--that in his desperate reaction against a monstrous system, he has become something of a monster himself. Orwell keeps both of his edges sharp to the very end--a "happy" ending that poses tough questions about just how happy it really is. That the book itself is not sour, but constantly fresh and frequently funny, is the result of Orwell's steady, unsentimental attention to the telling detail; his dry, quiet humor; his fascination with both the follies and the excellences of his characters; and his courageous refusal to embrace the comforts of any easy answer.

    However, freedom can be a noose around a man's neck.

    A plume of steam, white against the purple-heathered hills, marks the train. Beyond, blooming along the shoreline, the flowers of high summer, as a tall-funnelled paddle steamer beats and froths down the wide Clyde estuary . . .A narrative in the great Cronin tradition, this is the stirring chronicle of Laurence Carroll as he grows from childhood to adult years in Scotland. The tale of his struggles - early illness, a widowed mother, poverty, the uncles who try to help him, and the women who have such an unhappy effect upon him, is told with warm humour and with that intense and sympathetic realism for which A J Cronin is known.In the magnificent narrative tradition of The Citadel, The Stars Look Down and Cronin's other classic novels, A Song of Sixpence is a great book by a much-loved author.