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.

    The poem has been relatively well-preserved and requires few if any emendations to enable an initial reading. Thematically, the poem is primarily concerned with the evocation of the grief of the female speaker and with the representation of her state of despair. The tribulations she suffers leading to her state of lamentation, however, are cryptically described and have been subject to many interpretations.

    Somerset Maugham’s “Before the Party” is a novelette first published in the December 1922 edition of “Nash’s Magazine.” After the death of her husband, an alcoholic colonial administrator in Borneo, Millicent returns to England to live with her parents and sister. Did Millicent’s husband die of a fever, as Millicent claims, or was his throat cut? And if the latter, was it suicide or homicide?Sample passage:Mrs. Skinner had thought it very peculiar that her daughter should have no photographs of Harold in her room. Indeed she had spoken of it once, but Millicent had made no reply. Millicent had been strangely silent since she came back from Borneo, and had not encouraged the sympathy Mrs. Skinner would have been so willing to show her. She seemed unwilling to speak of her great loss. Sorrow took people in different ways. Her husband had said the best thing was to leave her alone. The thought of him turned her ideas to the party they were going to.About the author:W. Somerset Maugham (1874-1965) was a British novelist, short-story writer, and playwright. Notable novels are “Of Human Bondage,” “The Moon and Sixpence,” and “The Razor’s Edge.”

    The works in the series are suitable for ages eight and up. The books are simple, retellings of the great literary classics which remain faithful to the original text.

    Also included are fascinating primary sources and background materials, an annotated bibliography, and discussions of the work by leading scholars Robert Louis Jackson, Richard Tempest, and Dariusz Tolczyk. Combining scholarship with accessibility, this critical companion--part of the acclaimed AATSEEL series--illuminates a great work of literature and will enhance its appreciation by students and teachers.

    A man sits on a bench in front of his old school remembering the place where one particular day changed his life and those of many others dramatically years earlier.

    2: AmericanThen he saw, an indefinite distance beyond him, burning like red-hot iron through the darkness, a little scarlet or crimson gleam, as of a lighted cigar.

    Heine's protagonist is Atta Troll, the revolutionary dancing bear, who embodies all that Heine finds worthy of ridicule. The other poems in the collection are likewise chosen to highlight Heine's gift for lampooning social, political and artistic pomposity, while fighting for his own vision of a just world.

    This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

    With an active table of contents, you are certain to enjoy hours of reading pleasure by purchasing this collection vs. each book individually. Included are the following Zane Grey novels:Betty ZaneDesert GoldRiders of the Purple SageTales of Lonely TrailsThe Border LegionThe Call of the canyonThe Day of the BeastThe Desert of WheatThe Heritage of the DesertThe Last of the PlainsmenThe Last TrailThe Light of the Western StarsThe Lone Star RangerThe Man of the ForestThe Mysterious RiderThe Rainbow TrailThe Redheaded OutfieldThe Rustlers of Pecos CountyThe Spirit of the BorderThe U.P. TrailThe Young ForesterThe Young PitcherTo The Last ManValley of Wild HorsesWildfireAbout the Author:The father of the western novel, Zane Grey (1872 - 1939) was born in Zanesville, Ohio. He wrote 58 westerns and almost 30 other books. Over 130 films have been based on his work.

    Best known for his command of the psychological fantasy story, De Quincey produced stories of the curious and obscure, but always with the traditional Romantic emphasis on feeling. His masterwork, "Confessions of an English Opium Eater" (1821), stemmed from his own laudanum addiction, and was followed by "Suspiria de Profundis", a collection of essays which continued to capture the same dark brilliance as in "Confessions". The collection was originally published in fragmentary form, and remained unfinished upon De Quincey's death in 1859. This edition includes "The Affliction of Childhood," a reflection on the death of the author's two sisters in childhood, "Levana and our Ladies of Sorrow," one of his best-known works about the Roman goddess of childbirth, and "The English Mail-Coach," on the "grandeur and power" of the English mail-coach system.

    A first in audiobook publishing--a series that uses the written word to enhance the listening experience--poetry to be read as well as heard. Each audiobook includes rare archival recordings on cassette and a book with the text of the poetry, a bibliography, and a commentary by J. D. McClatchy, the poet and critic, who is the editor of The Yale Review.

    Don Marquis' creations have been constantly in print since 1934.

    This 80-page adaptation has been painstakingly edited to retain the integrity of the original work, and to convey a sense of the author's style and the novel's theme. A low reading level assures success and stimulates a desire for further exploration of this classic tale.Each novel, complete in just 80-pages, has been painstakingly adapted to retain the integrity of the original work. Each provides the reader a sense of the author's style and an understanding of the novel's theme.

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.