“Miss Welty has written some of the finest short stories of modern times” (Orville Prescott, New York Times). Selected and with an Introduction by Ruth M. Vande Kieft.

    The poetry is effervescent as it is spontaneous gush of thoughts, rhythmic and the lyrical measures delight the reader and bound him to read till it ends.

    showed that the projectile has passed the atmospheric strata, for the diffused light spread in the air would have been reflected on the metal walls, which reflection was wanting. This light would have lit the window, and the window was dark. Doubt was no longer possible; the travelers had left the earth. "I have lost," said Nicholl. "I congratulate you," replied Ardan. "Here are the nine thousand dollars," said the captain, drawing a roll of paper dollars from his pocket. "Will you have a receipt for it?" asked Barbicane, taking the sum. "If you do not mind," answered Nicholl; "it is more business-like." This is the legendary novel of technological speculation and social satire that launched an entire genre of adventure fiction: Verne's From the Earth to the Moon and 'Round the Moon is the first story of space exploration and remains a beloved work of daring exploits-and surprisingly accurate scientific conjecture. When the members of the Baltimore Gun Club-bored Civil War veterans-decide to fill their time by embarking on a project to shoot themselves to the moon, the race is on to raise money, overcome engineering challenges, and convince detractors that they're anything but "Lunatics." With this work, Verne inspired the first science fiction film, 1902's Le Voyage dans la lune, and accurately predicted that that ideal location for a spacebase is in Florida. First published in France in 1865, this replica 1918 edition includes the sequel, 1870's Round the Moon. Also available from Cosimo Classics: Verne's Five Weeks in a Balloon OF INTEREST TO: science fiction fans, readers of 19th-century literature French author JULES GABRIEL VERNE (1828-1905) is considered the father of modern science fiction. Among his many groundbreaking books are Journey to the Center of the Earth (1864), 20,000 Leagues Under the Sea (1870), and Around the World in Eighty Days (1872).

    As Fiction. O. Matthiessen pointed out, “in these loosely connected sketches, she has acquired a structure independent of plot. Her scaffolding is simply the unity of her vision.” Her vision was of a gentle and generous people on a rugged and dangerous coast, of New England character and “characters” limned in colors of high summer and blue skies. Here, too, you will meet the people of Dunnet Landing; the women, who are probably the most unforgettable characters of her book; and Elijah Tilley (among the very few men in Jewett’s cast) who, after the death of his wife, learns the skills of husband and wife, of farm and sea. The black-and-white pencil drawings by Douglas Alvord are nothing short of spectacular. Closely observed and carefully rendered, they possess all of the haunting serenity of Jewett’s landscapes. Faithfully reproduced and printed to the highest standards, this is destined to become a standard gift and reading book for everyone fascinated by New England, the rich history of its rockbound coast, and this magical author.

    Fall in love with Penguin Drop Caps, a new series of twenty-six collectible and hardcover editions, each with a type cover showcasing a gorgeously illustrated letter of the alphabet. In a design collaboration between Jessica Hische and Penguin Art Director Paul Buckley, the series features unique cover art by Hische, a superstar in the world of type design and illustration, whose work has appeared everywhere from Tiffany & Co. to Wes Anderson's recent film Moonrise Kingdom to Penguin's own bestsellers Committed and Rules of Civility. With exclusive designs that have never before appeared on Hische's hugely popular Daily Drop Cap blog, the Penguin Drop Caps series debuted with an 'A' for Jane Austen's Pride and Prejudice, a 'B' for Charlotte Br�nte's Jane Eyre, and a 'C' for Willa Cather's My �ntonia. It continues with more perennial classics, perfect to give as elegant gifts or to showcase on your own shelves.Y is for Yeats. A specially compiled edition for the Penguin Drop Caps series, When You Are Old will include the most accessible, best-known poems by W.B. Yeats from his early years that made the Nobel Prize winning writer and poet popular in his day. The volume will include all the major love poems written most notably for the brilliant yet elusive Irish revolutionary Maude Gonne. Recalling Yeats's 1890s fascination in aestheticism and the arts and crafts movement, selections will draw from the first published versions of poems from works such as Crossways, The Rose, The Wind Among the Reeds, In the Seven Woods, The Green Helmet and Other Poems, Responsibilities, The Wild Swans at Coole, and Michael Robartes and the Dancer. A selection Irish myths and fairytales including "The Wanderings of Oisin," a Celtic fable and his first major poem, represent his fascination with mysticism, spiritualism and the rich and imaginative heritage of his native land.

    Published the same year as her first novel, Adam Bede, this overlooked work displays the gifts for which George Eliot would become famous—gritty realism, psychological insight, and idealistic moralizing. It is unique from all her other writing, however, in that it represents the only time she ever used a first-person narrator, and it is the only time she wrote about the supernatural. The tale of a man who is incapacitated by visions of the future and the cacophony of overheard thoughts, and yet who can’t help trying to subvert his vividly glimpsed destiny, it is easy to read The Lifted Veil as being autobiographically revealing—of Eliot’s sensitivity to public opinion and her awareness that her days concealed behind a pseudonym were doomed to a tragic unveiling (as indeed came to pass soon after this novella’s publication). But it is easier still to read the story as the exciting and genuine precursor of a moody new form, as well as an absorbing early masterpiece of suspense.The Art of The Novella SeriesToo short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.

    It is a tale all of us know, the attempt to recover a period when our lives were simpler and complications lay far in the future.Other titles are: "The Star," "A Dream of Armageddon," "The Cone," "A Moonlight Fable," "The Diamond Maker," "The Lord of the Dynamos," and Wells' durably celebrated story of true freedom and the human spirit "The Country of the Blind."

    Other great kings and paladins are lost in the dim shadows oflong-past centuries, but Arthur still reigns in Camelot and his knightsstill ride forth to seek the Grail. "No little thing shall be The gentle music of the bygone years, Long past to us with all their hopes and fears."So wrote the poet William Morris in _The Earthly Paradise_. And surelyit is no small debt of gratitude we owe the troubadours and chroniclersand poets who through many centuries have sung of Arthur and hischampions, each adding to the song the gifts of his own imagination, sobuilding from simple folk-tales one of the most magnificent and movingstories in all literature.This debt perhaps we owe in greatest measure to three men; to Chrétiende Troies, a Frenchman, who in the twelfth century put many of the oldArthurian legends into verse; to Sir Thomas Malory, who first wrote outmost of the stories in English prose, and whose book, the _MorteDarthur_, was printed by William Caxton, the first English printer, in1485; and to Alfred, Lord Tennyson, who in his series of poems entitledthe _Idylls of the King_ retold the legends in new and beautiful guisein the nineteenth century.The history of Arthur is so shrouded in the mists of early England thatit is difficult to tell exactly who and what he was. There probably wasan actual Arthur, who lived in the island of Britain in the sixthcentury, but probably he was not a king nor even a prince. It seems mostlikely that he was a chieftain who led his countrymen to victory againstthe invading English about the year 500. So proud were his countrymen ofhis victories that they began to invent imaginary stories of his prowessto add to the fame of their hero, just as among all peoples legends soonspring up about the name of a great leader. As each man told the featsof Arthur he contributed those details that appealed most to his ownfancy and each was apt to think of the hero as a man of his own time,dressing and speaking and living as his own kings and princes did, withthe result that when we come to the twelfth century we find Geoffrey ofMonmouth, in his _History of the Kings of Britain_, describing Arthurno longer as a half-barbarous Briton, wearing rude armor, his arms andlegs bare, but instead as a most Christian king, the flower of mediævalchivalry, decked out in all the gorgeous trappings of a knight of theCrusades.As the story of Arthur grew it attracted to itself popular legends ofall kinds. Its roots were in Britain and the chief threads in its fabricremained British-Celtic. The next most important threads were those thatwere added by the Celtic chroniclers of Ireland. Then stories that werenot Celtic at all were woven into the legend, some from Germanicsources, which the Saxons or the descendants of the Franks may havecontributed, and others that came from the Orient, which may have beenbrought back from the East by men returning from the Crusades. And if itwas the Celts who gave us the most of the material for the stories ofArthur it was the French poets who first wrote out the stories and gavethem enduring form.It was the Frenchman, Chrétien de Troies, who lived at the courts ofChampagne and of Flanders, who put the old legends into verse for thepleasure of the noble lords and ladies that were his patrons. Hecomposed six Arthurian poems. The first, which was written about 1160 orearlier, related the story of Tristram. The next was called _Érec etÉnide_, and told some of the adventures that were later used by Tennysonin his _Geraint and Enid_. The third was _Cligès_, a poem that haslittle to do with the stories of Arthur and his knights as we havethem. Next came the _Conte de la Charrette_, or _Le Chevalier de laCharrette_, which set forth the love of Lancelot and Guinevere. Thenfollowed _Yvain_, or _Le Chevalier au Lion_, and finally came_Perceval_, or _Le Conte du Graal_, which gives the first account of theHoly Grail.

    Fortunately, "Buk" left plenty of unpublished manuscript behind that, judging from this culling from it, is of a piece with the published stuff. That is, it consists of quasi-autobiographical poems and stories. The poems' lines are only one to six words long, and the stories' sentences aren't much longer. Poems and stories relay the adventures and attitudes, at all stages of his life, of loafer and lumpen intellectual Henry Chinaski. They are occasionally laugh-out-loud funny, occasionally laughable because Henry and his women and pals are such a bunch of slobs, and occasionally as boring as Henry and company claim their lives are. And, to tell the truth, they are effortlessly, magnetically readable, especially if you are susceptible to their bargain-basement existentialist charm. Plenty are. Ray Olson

    No single volume better conveys the scope of Faulkner's vision than The Portable Faulkner. Edited by Malcolm CowleyContents:The Old PeopleThe UnvanquishedThe Last WildernessThe PeasantsThe End of an OrderMississippi FloodModern TimesThe Undying Past

    This book wouldn't elevate a cow. I cannot conscientiously recommend it for any useful purposes whatever. All I can suggest is that when you get tired of reading 'the best hundred books, ' you may take this up for half an hour. It will be a change." (from the Preface to "Idle Thoughts of an Idle Fellow by Jerome Jerome)

    With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Added to the stories are extracts from the novels in which the men of the law make their mark. These law officers and the circumstances in which they work were based on Dickens' observations of the fledgling police detective force when he was a solicitor's clerk and reporter. He accompanied detectives on their nightly patrols of the streets of London, witnessed the day-to-day running of police stations, attended magistrates' courts, and was present at murder trials and public executions. Out of these eyewitness experiences grew Mr. Nadgett in Martin Chuzzlewit—the first serious detective in an English novel—and Inspector Bucket in Bleak House, who solves the murder of an unscrupulous lawyer. The assorted cast of inspectors, sergeants, and constables also include an amateur detective, a river policeman, and the prototype of all undercover policemen.

    

    They are looked down upon by all around them, including the bun bakers. Their only seeming solace is the sixteen-year-old Tanya who visits them every morning for the kringles they give her.