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.

    Contending with the perils and the varied cast of characters of the marriage market, Belinda strides resolutely toward independence. Admired by her contemporary, Jane Austen, and later by Thackeray and Turgenev, Edgeworth tackles issues of gender and race in a manner at once comic and thought-provoking. The 1802 text used in this edition also confronts the difficult and fascinating issues of racism and mixed marriage, which Edgeworth toned down in later editions.

    The resulting volume is both an education in the history of fantastic literature and a rollercoaster ride of wonder and terror, vampires, ghosts, and the rebellious creatures of our own psyches. Selections include:E.T.A. Hoffmann--"The Sandman"G&#233rard de Nerval--"the Enchanted Hand"Nikolai Gogol--"The Nose"Edgar Allan Poe--"The Tell-Tale Heart"Hans Christian Andersen--"The Shadow"Ambrose Bierce--"Chickamauga"Robert Louis Stevenson--"The Bottle Imp"Henry James--"The Friends of the Friends"H.G. Wells--"The Country of the Blind"Comprising stories of the supernatural and narratives of the everyday uncanny, Fantastic Tales is a gallery of enchantments, deliciously entertaining yet more disturbing than our most persistent nightmares.CONTENTSIntroduction by Italo CalvinoI. The Visionary Fantastic of the Nineteenth CenturyThe Story of the Demoniac Pacheco by Jan PotockiAutumn Sorcery by Joseph von EichendorffThe Sandman by E. T. A. HoffmannWandering Willie’s Tale by Sir Walter ScottThe Elixir of Life by Honoré de BalzacThe Eye with No Lid by Phliarte ChaslesThe Enchanted Hand by Gérard de NervalYoung Goodman Brown by Nathaniel HawthorneThe Nose by Nikolai Vasilyevich GogolThe Beautiful Vampire by Théophile GautierThe Venus of Ille by Prosper MériméeThe Ghost and the Bonesetter by Joseph Sheridan Le FanuII. The Everday Fantastic of the Nineteenth CenturyThe Tell-Tale Heart by Edgar Allan PoeThe Shadow by Hans Christian AndersenThe Signal-Man by Charles DickensThe Dream by Ivan Sergeyevich TurgenevA Shameless Rascal by Nikolai Semyonovich LeskovThe Very Image by Auguste Villiers de l’Isle-AdamNight: A Nightmare by Guy de MaupassantA Lasting Love by Vernon LeeChickamauga by Ambrose BierceThe Holes in the Mask by Jean LorrainThe Bottle Imp by Robert Louis StevensonThe Friends of the Friends by Henry JamesThe Bridge-Builders by Rudyard KiplingThe Country of the Blind by H. G. Wells

    Wolf men, dolphin women, defiant old ladies, and middle-aged manufacturers of erotic leatherwear -- in Jigs & Reels the miraculous goes hand in hand with the mundane, the sour with the sweet, and the beautiful, the grotesque, the seductive, and the disturbing are never more than one step away. Whether she's exploring the myth of beauty, the pain of infidelity, or the wonder of late-life romance, Joanne Harris once again proves herself a master of the storyteller's trade.

    With their elegant prose, witty wordplay and subtle charm, the 104 stories in this selection reveal a world in which nothing is as it seems.

    In Europe, however (particularly in Germany, Italy, and France where he is published by the great publishing houses), he is critically recognized as one of America's greatest realist writers.

    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)

    It is a typical example of a Romantic closet drama. Manfred was adapted musically by Robert Schumann in 1852, in a composition entitled Manfred: Dramatic Poem with music in Three Parts, and later by Pyotr Ilyich Tchaikovsky in his Manfred Symphony, Op. 58, as well as by Carl Reinecke. Friedrich Nietzsche was impressed by the poem's depiction of a super-human being, and wrote some music for it. Byron wrote this "metaphysical drama", as he called it, after his marriage failed in scandal amidst charges of sexual improprieties and an incestuous affair between Byron and his half-sister, Augusta Leigh. Attacked by the press and ostracized by London society, Byron fled England for Switzerland in 1816 and never returned. Because Manfred was written immediately after this and because Manfred regards a main character tortured by his own sense of guilt for an unmentionable offense, some critics consider Manfred to be autobiographical, or even confessional.The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. Byron commenced this work in late 1816, only a few months after the famed ghost-story sessions which provided the initial impetus for Mary Shelley's Frankenstein. The supernatural references are made clear throughout the poem. In one scene, for example, (Act III, Scene IV, Interior of the Tower), Manfred recalls traveling through time (or astral projection traveling) to Caesar's palace, "and fill'd up, As 't were anew, the gaps of centuries...".

    'Hoodwink'd in faery fancy...' This volume contains a selection of Keats's greatest verse - including his gothic story in verse, 'The Eve of St Agnes', and the mysterious 'Lamia' - exploring themes of love, enchantment, myth and magic.

    When she was young, and had been first taught the art of conjuring by the necromancer, her father, she was always practicing her skill, whizzing about from one kingdom to another upon her black stick, and conferring her fairy favors upon this Prince or that.

    

    While around them crime and unrest surge, the Lovatts are certain that their old-fashioned contentment can protect them from the world outside—until the birth of their fifth baby. Gruesomely goblin-like in appearance, insatiably hungry, abnormally strong and violent, Ben has nothing innocent or infant-like about him. As he grows older and more terrifying, Harriet finds she cannot love him, David cannot bring himself to touch him, and their four older children are afraid of him. Understanding that he will never be accepted anywhere, Harriet and David are torn between their instincts as parents and their shocked reaction to this fierce and unlovable child whose existence shatters their belief in a benign world.

    A squeaky collar round the neck of a man is a comment, not upon the collar, but upon the man. That man is unlucky. Things are against him. Nature may have done all for him that she could, have given him a handsome outside and a noble inside, but the world of inanimate objects is against him.

    In this compelling poetic form, he sought to reveal his subjects' true natures in their own, often self-justifying, accounts of their lives and affairs. A number of these vivid monologues, including the famed "Fra Lippo Lippi," "How It Strikes a Contemporary," and "The Bishop Orders His Tomb at Saint Praxed's Church," are included in this selection of forty-two poems.Here, too, are the famous "My Last Duchess," dramatic lyrics such as "Memorabilia" and "Love among the Ruins," and well-known shorter works: "The Pied Piper of Hamelin," "Home-Thoughts, from Abroad," "Soliloquy of the Spanish Cloister," and more. Together these poems reveal Browning's rare gifts as both a lyric poet and a monologist of rare psychological insight and dramatic flair.

    It begins mid-flood, ducks swimming in the drawing-room windows, “quacking their approval” as they sail around the room. “What about my rose beds?” demands Grandmother Willoweed. Her son shouts down her ear-trumpet that the garden is submerged, dead animals everywhere, she will be lucky to get a bunch. Then the miller drowns himself . . . then the butcher slits his throat . . . and a series of gruesome deaths plagues the villagers. The newspaper asks, “Who will be smitten by this fatal madness next?” Through it all, Comyns’ unique voice weaves a narrative as wonderful as it is horrible, as beautiful as it is cruel. Originally published in England in 1954, this “overlooked small masterpiece” is a twisted, tragicomic gem.