Translated and with an introduction and notes by Robin Buss. Includes explanatory footnotes, as well as suggestions for further reading of acclaimed literary criticisms and references.
The Sherlock Holmes Book is packed with witty illustrations, clear graphics, and memorable quotes that make it the perfect Sherlock Holmes guide, covering every case of the world's greatest detective, from A Study in Scarlet to The Adventure of Shoscombe Old Place, placing the sorties in a wider context. Stories include at-a-glance flowcharts that show how Holmes reaches his conclusions through deductive reasoning, and character guides provide handy reference for readers and an invaluable resource for fans of the Sherlock Holmes films and TV series.
The Sherlock Holmes Book holds a magnifying glass to the world of Sir Arthur Conan Doyle's legendary detective.
One of the greatest American novels finds its perfect contemporary champion in Why Read Moby-Dick?, Nathaniel Philbrick’s enlightening and entertaining tour through Melville’s classic. As he did in his National Book Award–winning bestseller In the Heart of the Sea, Philbrick brings a sailor’s eye and an adventurer’s passion to unfolding the story behind an epic American journey. He skillfully navigates Melville’s world and illuminates the book’s humor and unforgettable characters—finding the thread that binds Ishmael and Ahab to our own time and, indeed, to all times. An ideal match between author and subject, Why Read Moby-Dick? will start conversations, inspire arguments, and make a powerful case that this classic tale waits to be discovered anew.
“Gracefully written [with an] infectious enthusiasm…”—New York Times Book Review
“Literary criticism,” writes Steiner, “should arise out of a debt of love.” Abiding by his own rule, Tolstoy or Dostoevsky is an impassioned work, inspired by Steiner’s conviction that the legacies of these two Russian masters loom over Western literature. By explaining how Leo Tolstoy and Fyodor Dostoevsky differ from each other, Steiner demonstrates that when taken together, their work offers the most complete portrayal of life and the tension between the thirst for knowledge on one hand and the longing for mystery on the other. An instant classic for scholars of Russian literature and casual readers alike, Tolstoy or Dostoevsky explores two powerful writers and their opposing modes of approaching the world, and the enduring legacies wrought by their works.
Winner of the American Library in Paris Book Award, 2017
Les Misérables is among the most popular and enduring novels ever written. Like Inspector Javert’s dogged pursuit of Jean Valjean, its appeal has never waned, but only grown broader in its one-hundred-and-fifty-year life. Whether we encounter Victor Hugo’s story on the page, onstage, or on-screen, Les Misérables continues to captivate while also, perhaps unexpectedly, speaking to contemporary concerns. In The Novel of the Century, the acclaimed scholar and translator David Bellos tells us why.
This enchanting biography of a classic of world literature is written for “Les Mis” fanatics and novices alike. Casting decades of scholarship into accessible narrative form, Bellos brings to life the extraordinary story of how Victor Hugo managed to write his novel of the downtrodden despite a revolution, a coup d’état, and political exile; how he pulled off a pathbreaking deal to get it published; and how his approach to the “social question” would define his era’s moral imagination. More than an ode to Hugo’s masterpiece, The Novel of the Century also shows that what Les Misérables has to say about poverty, history, and revolution is full of meaning today.
Jane Austen's novel tells the story of Marianne Dashwood, who wears her heart on her sleeve, and when she falls in love with the dashing but unsuitable John Willoughby she ignores her sister Elinor's warning that her impulsive behaviour leaves her open to gossip and innuendo. Meanwhile Elinor, always sensitive to social convention, is struggling to conceal her own romantic disappointment, even from those closest to her. Through their parallel experience of love - and its threatened loss - the sisters learn that sense must mix with sensibility if they are to find personal happiness in a society where status and money govern the rules of love.
The Penguin English Library - 100 editions of the best fiction in English, from the eighteenth century and the very first novels to the beginning of the First World War.
Wheelock’s Latin 7th Edition retains its signature core of authentic Latin readings—curated from the works of Cicero, Vergil, and other major Roman authors of classical literature, drama, and poetry, as well as inscriptions, artifacts, and even authentic graffiti—that demonstrate the ancient Romans’ everyday use of Latin: Latin as a living language.
With expanded English-Latin/Latin-English vocabulary sections, tightly retooled comprehension and discussion questions, self-tutorial exercises, translation tips, etymological aids, maps, and dozens of photos and illustrations that capture aspects of classical culture and mythology, Wheelock’s Latin 7th Edition is the essential resource for students beginning their journey into the heart of the classical world.
"[Gilmore] demonstrates the profound, sustained, engagement with society embodied in the works of Emerson, Hawthorne, Thoreau and Melville. In effect, he relocates the American Renaissance where it properly belongs, at the centre of a broad social, economic, and ideological movement from the Jacksonian era to the Civil War. Basically, Gilmore's argument concerns the writers' participation in what Thoreau called 'the curse of trade.' He details their mixed resistance to and complicity in the burgeoning literary marketplace and, by extension, the entire ' economic revolution' which between 1830 and 1860 'transformed the United States into a market society'. . . .
"The result is a model of literary-historical revisionism. Gilmore's opening chapters on Emerson and Thoreau show that 'transcendental' thought and language can come fully alive when understood within the material processes and ideological constraints of their time. . . . The remaining five chapters, on Hawthorne and Melville, contain some of the most penetrating recent commentaries on the aesthetic strategies of American Romantic fiction, presented within and through some of the most astute, thoughtful considerations I know of commodification and the 'democratic public' in mid-nineteenth-century America. . . . Practically and methodologically, American Romanticism and the Marketplace has a significant place in the movement towards a new American literary history. It places Gilmore at the forefront of a new generation of critics who are not just reinterpreting familiar texts or discovering new texts to interpret, but reshaping our ways of thinking about literature and culture."—Sacvan Bercovitch, Times Literary Supplement
"Gilmore writes with energy, clarity, and wit. The reader is enriched by this book." William H. Shurr, American Literature
It was in the novel that writers found space to articulate the anxieties surrounding money that developed along with the rise of capitalism in nineteenth-century England. Michie focuses in particular on the character of the wealthy heiress and how she, unlike her male counterpart, represents the tensions in British society between the desire for wealth and advancement and the fear that economic development would blur the traditional boundaries of social classes.
Michie explores how novelists of the period captured with particular vividness England’s ambivalent emotional responses to its own financial successes and engaged questions identical to those raised by political economists and moral philosophers. Each chapter reads a novelist alongside a contemporary thinker, tracing the development of capitalism in Britain: Jane Austen and Adam Smith and the rise of commercial society, Frances Trollope and Thomas Robert Malthus and industrialism, Anthony Trollope and Walter Bagehot and the political influence of money, Margaret Oliphant and John Stuart Mill and professionalism and managerial capitalism, and Henry James and Georg Simmel and the shift of economic dominance from England to America.
Even the great romantic novels of the nineteenth century cannot disentangle themselves from the vulgar question of money. Michie’s fresh reading of the marriage plot, and the choice between two women at its heart, shows it to be as much about politics and economics as it is about personal choice.
This new study reveals that the nineteen stories that comprised the original Tales of Soldiers and Civilians consist of carefully developed and interrelated meanings and themes that can only be fully understood by examining the complex circumstances of their original productions. By considering each of the nineteen tales in the order in which they were first published and by drawing heavily on contemporary related materials, Blume re-creates much of the original milieu into which Bierce carefully placed his short stories. Blume systematically examines many of Bierce's editing flaws, exposing that Bierce's decisions often weakened the original literary merits of his stories. Ultimately this story reveals, tale by tale and layer by layer, that the nineteen stories included in Bierce's 1892 collection were masterpieces of fiction, destined to become classics. Historians and Civil War enthusiasts, as well as literary scholars, will welcome this new study.
Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.
Hopkins was less interested in self-discovery or self-concept than in what might be called the confrontational or obtrusive self – the ‘I,’ ultimately nameless, that each person wakes up to in the morning to find simply there, directly or indirectly present in every moment of consciousness. Hopkins’ concern with the self grew out of a nineteenth-century sensibility which was to give birth to modernity and postmodernity, and which in his case as a Jesuit was especially nourished by the Spiritual Exercises of St Ignatius Loyola, concerned at root with the self, free choice, and free self-giving. It was also nourished by the Christian belief in the Three Persons in One God, central to Hopkins’ theology courses and personal speculation, and very notable in the Spiritual Exercises. Hopkins appropriated and intensified his Christian beliefs with new nineteenth-century awareness: he writes of the ‘selving’ in God of the Father, the Son, and the Holy Spirit. Hopkins’ pastoral work, particularly in the confessional, dealing directly with other selves in terms of their free decisions, also gave further force to his preoccupation with the self and freedom. ‘What I do,’ he writes, ‘is me.’
Besides being concerned with the self, the most particular of particulars and the paradigm of all sense of ‘presence,’ the Spiritual Exercises in many ways attend to other particularities with an insistence that has drawn lengthy and rather impassioned commentary from the postmodern literary theorist Roland Barthes.
Hopkins’ distinctive and often precocious attention to the self and freedom puts him theologically far ahead of many of his fellow Catholics and other fellow Victorians, and gives him his permanent relevance to the modern and postmodern world.
Gretchen Martin examines representative nineteenth-century works to explore the influence of black-authored (or narrated) works on well-known white-authored texts, particularly the impact of black oral culture evident by subversive trickster figures in John Pendleton Kennedy's Swallow Barn, Harriet Beecher Stowe's Uncle Tom's Cabin, Herman Melville's Benito Cereno, Joel Chandler Harris's short stories, as well as Mark Twain's Adventures of Huckleberry Finn and Pudd'nhead Wilson.
As Martin indicates, such white authors show themselves to be savvy observers of the many trickster traditions and indeed a wide range of texts suggest stylistic and aesthetic influences representative of the artistry, subversive wisdom, and subtle humor in these black figures of ridicule, resistance, and repudiation.
The black characters created by these white authors are often dismissed as little more than limited, demeaning stereotypes of the minstrel tradition, yet by teasing out important distinctions between the wisdom and humor signified by trickery rather than minstrelsy, Martin probes an overlooked aspect of the nineteenth-century American literary canon and reveals the extensive influence of black aesthetics on some of the most highly regarded work by white American authors.
In the fall of 1858, a thirteen-part essay series appeared in the New York Atlas, under the title Manly Health and Training. This nearly 47,000-word journalistic effort, written by Walt Whitman under his pen name “Mose Velsor,” was lost for more than 150 years, buried in just a handful of library archives, until its recent unexpected discovery.
What you hold in your hands is a long-lost health manifesto that, remarkably, is as relevant today as it was back in the nineteenth century. A truly illuminating discovery that reveals much about a little-known period in Whitman’s life, this men’s guide features earnest recommendations for eating, sleeping, and exercise, emphasizing moderation and focusing on the holistic relationship between the mind and the body:
—Be a carnivore: “Let the main part of the diet be meat, to the exclusion of all else.”
—Engage in vigorous exercise: “Habituate yourself to the brisk walk in the fresh air—to the exercise of pulling the oar—and to the loud declamation upon the hills, or along the shore.”
—Go to bed by 10 p.m.: “. . . with a plentiful supply of good air, during the six, seven, or eight hours that are spent in sleep. During most of the year, the window must be kept partly open for this purpose.”
—Take a cold shower in the morning: “In most cases the best thing he can commence the day with is a rapid wash of the whole body in cold water, using a sponge, or the hands.”
—Wear comfortable shoes: “Most of the usual fashionable boots and shoes, which neither favor comfort, nor health, nor the ease of walking, are to be discarded.”
—Grow a beard: “The beard is a great sanitary protection to the throat—for purposes of health it should always be worn, just as much as the hair of the head should be.”
—Banish depression: “If the victim of ‘the horrors’ could but pluck up energy enough to strip off all his clothes and gives his whole body a stinging rubdown with a flesh-brush till the skin becomes all red and aglow, he would be thoroughly cured of his depression, by this alone.”
Filled with Whitmanic aphorisms and beautifully illustrated with contemporary artwork, Manly Health and Training provides essential insight into one of the world’s most beloved poets and his philosophy on manhood, bodily perfectibility, and the future of the American body politic.
For most, Victorian moralizing is one of the period’s least attractive and interesting qualities. But Good Form argues that the moral interpretation of novel experience was essential in the development of the novel form—and that this moral approach is still a fundamental, if unrecognized, part of how we understand novels. Bringing together ideas from philosophy, literary history, and narrative theory, Rosenthal shows that we cannot understand the formal principles of the novel that we have inherited from the nineteenth century without also understanding the moral principles that have come with them. Good Form helps us to understand the way Victorians read, but it also helps us to understand the way we read now.
When his godfather is murdered, Cornelius finds himself caught up in the deadly politics of the time, imprisoned and facing a death sentence. His jailor's daughter Rosa, holds both the key to his survival and his chance to produce the ultimate tulip.
This difference in outcome doesn’t mean that poisonous women didn’t preoccupy Americans. In the decades following Andrew Jackson’s first presidential bid, Americans buzzed over women who used poison to kill men. They produced and devoured reams of ephemeral newsprint, cheap trial transcripts, and sensational “true” pamphlets, as well as novels, plays, and poems. Female poisoners served as crucial elements in the literary manifestos of writers from Nathaniel Hawthorne and Edgar Allan Poe to George Lippard and the cheap pamphleteer E. E. Barclay, but these characters were given a strangely positive spin, appearing as innocent victims, avenging heroes, or engaging humbugs.
The reason for this poison predilection lies in the political logic of metaphor. Nineteenth-century Britain strove to rein in democratic and populist movements by labeling popular print “poison” and its providers “poisoners,” drawing on centuries of established metaphor that negatively associated poison, women, and popular speech or writing. Jacksonian America, by contrast, was ideologically committed to the popular—although what and who counted as such was up for serious debate. The literary gadfly John Neal called on his fellow Jacksonian writers to defy British critical standards, saying, “Let us have poison.” Poisonous Muse investigates how they answered, how they deployed the figure of the female poisoner to theorize popular authorship, to validate or undermine it, and to fight over its limits, particularly its political, gendered, and racial boundaries.
Poisonous Muse tracks the progress of this debate from approximately 1820 to 1845. Uncovering forgotten writers and restoring forgotten context to well-remembered authors, it seeks to understand Jacksonian print culture from the inside out, through its own poisonous language.
'I never have been in love; it is not my way, or my nature; and I do not think I ever shall'
Beautiful, clever, rich - and single - Emma Woodhouse is perfectly content with her life and sees no need for either love or marriage. Nothing, however, delights her more than interfering in the romantic lives of others. But when she ignores the warnings of her good friend Mr Knightley and attempts to arrange a suitable match for her protégée Harriet Smith, her carefully laid plans soon unravel and have consequences that she never expected. With its imperfect but charming heroine and its witty and subtle exploration of relationships, Emma is often seen as Jane Austen's most flawless work.
The Penguin English Library - 100 paperbacks of the best fiction written in English, from the eighteenth century and the very first novels to the beginning of the First World War.
Why did Charlotte Brontë go to such great lengths on the publication of her acclaimed, best-selling novel, Jane Eyre, to conceal its authorship from her family, close friends, and the press? In The Secret History of Jane Eyre, John Pfordresher tells the enthralling story of Brontë’s compulsion to write her masterpiece and why she then turned around and vehemently disavowed it.
Few people know how quickly Brontë composed Jane Eyre. Nor do many know that she wrote it during a devastating and anxious period in her life. Thwarted in her passionate, secret, and forbidden love for a married man, she found herself living in a home suddenly imperiled by the fact that her father, a minister, the sole support of the family, was on the brink of blindness. After his hasty operation, as she nursed him in an isolated apartment kept dark to help him heal his eyes, Brontë began writing Jane Eyre, an invigorating romance that, despite her own fears and sorrows, gives voice to a powerfully rebellious and ultimately optimistic woman’s spirit.
The Secret History of Jane Eyre expands our understanding of both Jane Eyre and the inner life of its notoriously private author. Pfordresher connects the people Brontë knew and the events she lived to the characters and story in the novel, and he explores how her fecund imagination used her inner life to shape one of the world’s most popular novels.
By aligning his insights into Brontë’s life with the timeless characters, harrowing plot, and forbidden romance of Jane Eyre, Pfordresher reveals the remarkable parallels between one of literature’s most beloved heroines and her passionate creator, and arrives at a new understanding of Brontë’s brilliant, immersive genius.
Exercises throughout provide opportunities for puzzling out concepts, committing terms and data to memory, and applying ideas. A comprehensive glossary and up-to-date bibliographies help to guide further study.
'Life is a pic-nic en costume; one must take a part, assume a character, stand ready in a sensible way to play the fool'
In The Confidence-Man, Melville's unnerving and hallucinatory satire on the American dream, a slippery trickster and master of disguise comes to swindle his fellow passengers - who themselves may also be con-men - aboard a Mississippi steamboat.
Billy Budd, Sailor, published after Melville's death in 1891, is a gripping allegory of good and evil, as an innocent man, pressed into service on a British man-of-war, is falsely accused of mutiny. Both these late works are animated with the dark genius of the greatest of American writers.
The Penguin English Library - 100 editions of the best fiction in English, from the eighteenth century and the very first novels to the beginning of the First World War.
Linguistics has long shied away from claiming any link between a language and the culture of its speakers: too much simplistic (even bigoted) chatter about the romance of Italian and the goose-stepping orderliness of German has made serious thinkers wary of the entire subject. But now, acclaimed linguist Guy Deutscher has dared to reopen the issue. Can culture influence language—and vice versa? Can different languages lead their speakers to different thoughts? Could our experience of the world depend on whether our language has a word for "blue"?
Challenging the consensus that the fundaments of language are hard-wired in our genes and thus universal, Deutscher argues that the answer to all these questions is—yes. In thrilling fashion, he takes us from Homer to Darwin, from Yale to the Amazon, from how to name the rainbow to why Russian water—a "she"—becomes a "he" once you dip a tea bag into her, demonstrating that language does in fact reflect culture in ways that are anything but trivial. Audacious, delightful, and field-changing, Through the Language Glass is a classic of intellectual discovery.