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    None of these adjectives, however, do the slightest justice to the novel. To this day it remains the modernist masterpiece, in which the author takes both Celtic lyricism and vulgarity to splendid extremes. It is funny, sorrowful, and even (in a close-focus sort of way) suspenseful. And despite the exegetical industry that has sprung up in the last 75 years, Ulysses is also a compulsively readable book.William Blake saw the universe in a grain of sand. Joyce saw it in Dublin, Ireland, on June 16, 1904, a day distinguished by its utter normality. Two characters, Stephen Dedalus and Leopold Bloom, go about their separate business, crossing paths with a gallery of indelible Dubliners. We watch them teach, eat, stroll the streets, argue, and (in Bloom's case) masturbate. And thanks to the book's stream-of-consciousness technique--which suggests no mere stream but an impossibly deep, swift-running river--we're privy to their thoughts, emotions, and memories. The result? Almost every variety of human experience is crammed into the accordion folds of a single day, which makes Ulysses not just an experimental work but the very last word in realism.Dubliners was completed in 1905, but British and Irish publishers and printers found it so offensive and immoral, it was suppressed. It finally came out in London in 1914, just as Portrait of the Artist as a Young Man began to appear in the journal Egoist under Ezra Pound's auspices. The first three stories might be incidents from a draft of Portrait of the Artist as a Young Man and many of the characters who figure in Ulysses first appear here, but this isn't a book of interest only because of its relationship to Joyce's life and mature work. It's one of the great story collections in the English language--a brilliant, unflinching, often tragic portrait of early 20th-century Dublin. The book, which begins and ends with a death, moves from "stories of my childhood" through tales of public life. Its larger purpose, Joyce said, was as a moral history of Ireland.

    Henry Jekyll discovers a monster.This spine-chilling thriller is a terrifying study of the duality of man's nature, and it is the book which established Stevenson's reputation as a writer.Also included in this volume is Stevenson's collection of short stories The Merry Men containing two other sinister tales Markheim and Thrawn Janet.

    Here is the definitive guide to the geography of Middle-earth, from its founding in the Elder Days through the Third Age, including the journeys of Bilbo, Frodo, and the Fellowship of the Ring. Authentic and updated -- nearly one third of the maps are new, and the text is fully revised -- the atlas illuminates the enchanted world created in THE SILMARILLION, THE HOBBIT, and THE LORD OF THE RINGS.Hundreds of two-color maps and diagrams survey the journeys of the principal characters day by day -- including all the battles and key locations of the First, Second, and Third Ages. Plans and descriptions of castles, buildings, and distinctive landforms are given, along with thematic maps describing the climate, vegetation, languages, and population distribution of Middle-earth throughout its history. An extensive appendix and an index help readers correlate the maps with Tolkien's novels.

    The novel moves through a single year and, at the same time, a decade of years, from the spring arrival of the family at their mortgaged farm to the winter 10 years later, when the ravages of drought, fire, and personal anguish have led to the deaths of two of the five. Like Ethan Frome, the relatively brief, intense story evokes the torment possible among people isolated and driven by strong feelings of love and hate that, unexpressed, lead inevitably to doom. Reviewers in the thirties praised the novel, calling its prose "profoundly moving music," expressing incredulity "that this mature style and this mature point of view are those of a young women in her twenties," comparing the book to "the luminous work of Willa Cather," and, with prescience, suggesting that it "has that rare quality of timelessness which is the mark of first-rate fiction."

    One great omnibus of three of Crichton's most popular adventures (Congo, Sphere, & Eaters of the Dead), with his trademark blend of breathtaking suspense & cutting-edge technology.

    And, like many parents, they waited for him to get over it, but it started to get worse. Mathew's conversations with himself grew more and more intense - it was like listening to one end of a telephone conversation while someone argued, cajoled and reasoned with another person you couldn't hear. Then Matthew started doing things he couldn't do before, like counting in binary-code mathematics. So he told them about Chocky - the person who lived in his head.

    Acclaimed author Geraldine Brooks gives us the story of the absent father from Louisa May Alcott's Little Women—and conjures a world of brutality, stubborn courage and transcendent love. An idealistic abolitionist, March has gone as chaplain to serve the Union cause. But the war tests his faith not only in the Union—which is also capable of barbarism and racism—but in himself. As he recovers from a near-fatal illness, March must reassemble and reconnect with his family, who have no idea of what he has endured. A love story set in a time of catastrophe, March explores the passions between a man and a woman, the tenderness of parent and child, and the life-changing power of an ardently held belief.

    This million-copy Pulitzer Prize-winning classic details the journey of Jaimie and his father from Kentucky to gold-rush California.

    And hid her bruises. And stayed with Bobby because she wanted her son to have a father. And because, in spite of everything, she loved him. Then one night, when she saw the look on her ten-year-old son's face, Fran finally made a choice--and ran for both their lives.Now she is starting over in a city far from home, far from Bobby. And in this place she uses a name that isn't hers, and cradles her son in her arms, and tries to forget. For the woman who now calls herself Beth, every day is a chance to heal, to put together the pieces of her shattered self. And every day she waits for Bobby to catch up to her. Because Bobby always said he would never let her go. And despite the flawlessness of her escape, Fran Benedetto is certain of one thing: It is only a matter of time...

    There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar: he is called the Lord of Waters, of all seas, lakes, and rivers under the sky. But he works in secret in Middle-earth to support the Noldor, the kindred of the Elves among whom were numbered Húrin and Túrin Turambar.   Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo’s desires and designs.   Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo’s designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon’s daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo.   At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Túrin and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources.   Following his presentation of Beren and Lúthien Christopher Tolkien has used the same ‘history in sequence’ mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three ‘Great Tales’ of the Elder Days.

    Here is their story as re-imagined by Thomas Pynchon, featuring Native Americans and frontier folk, ripped bodices, naval warfare, conspiracies erotic and political, major caffeine abuse. We follow the mismatch'd pair—one rollicking, the other depressive; one Gothic, the other pre-Romantic—from their first journey together to the Cape of Good Hope, to pre-Revolutionary America and back, through the strange yet redemptive turns of fortune in their later lives, on a grand tour of the Enlightenment's dark hemisphere, as they observe and participate in the many opportunities for insanity presented them by the Age of Reason.

    Rosewater (1965) presents Eliot Rosewater, an itinerant, semi-crazed millionaire wandering the country in search of heritage and philanthropic outcome, introducing the science fiction writer Kilgore Trout to the world and Vonnegut to the collegiate audience which would soon make him a cult writer.Trout, modeled according to Vonnegut on the science fiction writer Theodore Sturgeon (with whom Vonnegut had an occasional relationship) is a desperate, impoverished but visionary hack writer who functions for Eliot Rosewater as both conscience and horrid example. Rosewater, seeking to put his inheritance to some meaningful use (his father was an entrepreneur), tries to do good within the context of almost illimitable cynicism and corruption.It is in this novel that Rosewater wanders into a science fiction conference--an actual annual event in Milford, Pennsylvania--and at the motel delivers his famous monologue evoked by science fiction writers and critics for almost half a century: "None of you can write for sour apples... but you're the only people trying to come to terms with the really terrific things which are happening today." Money does not drive Mr. Rosewater (or the corrupt lawyer who tries to shape the Rosewater fortune) so much as outrage at the human condition. The novel was adapted for a 1979 Alan Menken musical. The novel is told mostly thru a collection of short stories dealing with Eliot's interactions with the citizens of Rosewater County, usually with the last sentence serving as a punch line. The antagonist's tale, Mushari's, is told in a similar short essay fashion. The stories reveal different hypocrisies of humankind in a darkly humorous fashion.

    Joseph Pugh, sick of Oxford and of teaching, decides to take some time off to live in a wild and beautiful Welsh farm valley. There he falls physically ill and is nursed back to health by Bronwen Vaughn, the wife of a neighboring farmer. Slowly, unwillingly, Bronwen and Pugh fall in love; and while that word is never spoken between them, their story is as passionate and as tragic as that of Vronsky and Anna Karenina.

    Jean Stafford communicates the small details of loneliness and connection, the search for freedom and the desire to belong, that not only illuminate whole lives but also convey with an elegant economy of words the sense of the place and time in which her protagonists find themselves. This volume also includes the acclaimed story "An Influx of Poets," which has never before appeared in book form.