Hartley's finest novel, encounters a world of unimagined luxury. But when his friend's beautiful older sister enlists him as the unwitting messenger in her illicit love affair, the aftershocks will be felt for years. The inspiration for the brilliant Joseph Losey/Harold Pinter film starring Julie Christie and Alan Bates, The Go-Between is a masterpiece—a richly layered, spellbinding story about past and present, naiveté and knowledge, and the mysteries of the human heart. This volume includes, for the first time ever in North America, Hartley's own introduction to the novel.

    Led by a stouthearted pair of friends, they journey forth from their native Sandleford Warren through the harrowing trials posed by predators and adversaries, to a mysterious promised land and a more perfect society.

    The subject of major film and stage adaptations, the novel's prime movers, the Vicomte de Valmont and the Marquise de Merteuil, form an unholy alliance and turn seduction into a game - a game which they must win. This new translation gives Laclos a modern voice, and readers will be able a judge whether the novel is as "diabolical" and "infamous" as its critics have claimed, or whether it has much to tell us about the kind of world we ourselves live in. David Coward's introduction explodes myths about Laclos's own life and puts the book in its literary and cultural context.

    But when she falls in love with Bosinney, a penniless architect who utterly rejects the Forsyte values, their affair touches off a series of events which can only end in disgrace and disaster.John Galsworthy tackles his theme of the demise of the upper-middle classes with irony and compassion.

    Lovelace, however, proves himself to be an untrustworthy rake whose vague promises of marriage are accompanied by unwelcome and increasingly brutal sexual advances. And yet, Clarissa finds his charm alluring, her scrupulous sense of virtue tinged with unconfessed desire. Told through a complex series of interweaving letters, "Clarissa" is a richly ambiguous study of a fatally attracted couple and a work of astonishing power and immediacy. A huge success when it first appeared in 1747, and translated into French and German, it remains one of the greatest of all European novels. Its rich ambiguities - our sense of Clarissa's scrupulous virtue tinged with intimations of her capacity for self-deception in matters of sex; the wicked and amusing faces of Lovelace, who must be easily the most charming villain in English literature - give the story extraordinary psychological momentum. .

    The scarlet letter A (for adultery) she has to wear on her clothes, along with her public shaming, is her punishment for her sin and her secrecy. She struggles to create a new life of repentance and dignity. Throughout the book, Hawthorne explores themes of legalism, sin, and guilt.

    Among actors, the role of Hamlet, Prince of Denmark, is considered the jewel in the crown of a triumphant theatrical career. Now Kenneth Branagh plays the leading role and co-directs a brillant ensemble performance. Three generations of legendary leading actors, many of whom first assembled for the Oscar-winning film "Henry V", gather here to perform the rarely heard complete version of the play. This clear, subtly nuanced, stunning dramatization, presented by The Renaissance Theatre Company in association with "Bbc" Broadcasting, features such luminaries as Sir John Gielgud, Derek Jacobi, Emma Thompson and Christopher Ravenscroft. It combines a full cast with stirring music and sound effects to bring this magnificent Shakespearen classic vividly to life. Revealing new riches with each listening, this production of "Hamlet" is an invaluable aid for students, teachers and all true lovers of Shakespeare - a recording to be treasured for decades to come.

    doomed to perish in tortures the most severe'Shocking, erotic and violent, The Monk is the story of Ambrosio, torn between his spiritual vows and the temptations of physical pleasure. His internal battle leads to sexual obsession, rape and murder, yet this book also contains knowing parody of its own excesses as well as social comedy. Written by Matthew Lewis when he was only nineteen, it was a ground-breaking novel in the Gothic Horror genre and spawned hundreds of imitators, drawn in by its mixture of bloodshed, sex and scandal.

    Hapless veterans of World War II, Archie and Samad and their families become agents of England’s irrevocable transformation. A second marriage to Clara Bowden, a beautiful, albeit tooth-challenged, Jamaican half his age, quite literally gives Archie a second lease on life, and produces Irie, a knowing child whose personality doesn’t quite match her name (Jamaican for “no problem”). Samad’s late-in-life arranged marriage (he had to wait for his bride to be born), produces twin sons whose separate paths confound Iqbal’s every effort to direct them, and a renewed, if selective, submission to his Islamic faith. Set against London’s racial and cultural tapestry, venturing across the former empire and into the past as it barrels toward the future, White Teeth revels in the ecstatic hodgepodge of modern life, flirting with disaster, confounding expectations, and embracing the comedy of daily existence.

    She soon escapes her fate for the loving arms of a wealthy young man, but misadventure and fate conspire to keep her from domestic bliss. Instead, Fanny discovers that sex need not be just for love; that it can be had for pleasure. She then sets out to explore those pleasures in as wide a variety as she can. With old men and young, and women as well; in positions of power, and situations where she has none; either watching or participating, Fanny's journey through the realms of sexual pleasure is a literary tour-de-force.

    The novel's vision of Soviet life in the 1930s is so ferociously accurate that it could not be published during its author's lifetime and appeared only in a censored edition in the 1960s. Its truths are so enduring that its language has become part of the common Russian speech.One hot spring, the devil arrives in Moscow, accompanied by a retinue that includes a beautiful naked witch and an immense talking black cat with a fondness for chess and vodka. The visitors quickly wreak havoc in a city that refuses to believe in either God or Satan. But they also bring peace to two unhappy Muscovites: one is the Master, a writer pilloried for daring to write a novel about Christ and Pontius Pilate; the other is Margarita, who loves the Master so deeply that she is willing literally to go to hell for him. What ensues is a novel of inexhaustible energy, humor, and philosophical depth, a work whose nuances emerge for the first time in Diana Burgin's and Katherine Tiernan O'Connor's splendid English version.

    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.

    She is passionate in the application of her unorthodox teaching methods and strives to bring out the best in each one of her students. Determined to instill in them independence, passion, and ambition, Miss Brodie advises them, "Safety does not come first. Goodness, Truth, and Beauty come first. Follow me." And they do--but one of them will betray her.

    Newly arrived from her tour of the Continent, Sophy invites herself into the circle of her relatives. When Lady Ombersley agrees to take in her young niece, no one expects Sophy, who sweeps in and immediately takes the town by storm. Beautiful, gay, impulsive, shockingly direct, Sophy sweeps into elegant London society and scatters conventions and traditions before her like wisps in a windstorm. Resourceful, adventurous and utterly indefatigable, Sophy is hardly the mild-mannered girl that the Rivenhalls expect when they agree to take her in. Kind-hearted Aunt Lizzy is shocked, and her arrogant stern cousin Charles Rivenhall, the Ombersley heir, vows to rid his family of her meddlesome ways by marrying her off.But vibrant and irrepressible Sophy was no stranger to managing delicate situations. After all, she'd been keeping opportunistic females away from her widowed father for years. Staying with her relatives could be her biggest challenge yet. But Sophy discovers that her aunt's family is in desperate need of her talent for setting everything right: her aunt's husband is of no use at all, her ruthlessly handsome cousin Charles has tyrannical tendencies that are being aggravated by his pedantic bluestocking fiancee Eugenia Wraxton; her lovely cousin Cecelia is smitten with an utterly unsuitable suitor, a beautiful but feather-brained poet; her cousin Herbert is in dire financial straits and has fallen foul of a money-lender; and the younger children are in desperate need of some fun and freedom, and Sophy's arrived just in time to save them all. With her inimitable mixture of exuberance and grace, Sophy becomes the mainstay of her hilariously bedeviled family, as a horsewoman, social leader and above all, as an ingenious match-maker. Using her signature unorthodox methods, Sophy sets out to solve all of their problems. By the time she's done, Sophy has commandeered household and Charles's horses, but she finds herself increasingly drawn to her eldest cousin. Could it be that the Grand Sophy had finally met her match? Can she really be falling in love with him, and he with her? And what of his betrothal to grim Eugenia?

    She may leave the home of the Commander and his wife once a day to walk to food markets whose signs are now pictures instead of words because women are no longer allowed to read. She must lie on her back once a month and pray that the Commander makes her pregnant, because in an age of declining births, Offred and the other Handmaids are valued only if their ovaries are viable. Offred can remember the years before, when she lived and made love with her husband, Luke; when she played with and protected her daughter; when she had a job, money of her own, and access to knowledge. But all of that is gone now . . . Funny, unexpected, horrifying, and altogether convincing, The Handmaid's Tale is at once scathing satire, dire warning, and tour de force.