Com apresentação de Luis Antônio Aguiar, este conto faz parte do livro Góticos II: Lúgubres Mistérios - Contos Clássicos, segundo volume da Coleção Góticos.
Oliver Twist chegou ao mundo numa noite fria e adversa. A mãe morreu em seguida, e ninguém tinha a menor ideia de quem fosse o pai. Órfão e pobre, o menino passou por todo tipo de privação, até ser vendido a um coveiro. Maltratado, acabou fugindo e foi viver nas ruas de Londres, onde conheceu Fagin, chefe de uma quadrilha de meninos especialista em furto de joias. É o início de uma história comovente, cheia de desafios e reviravoltas.
Obrigado a roubar, Oliver começa a se meter numa grande enrascada, mas nem imagina que, em meio a tamanha confusão, o destino trará à tona os segredos de sua origem.
After eighteen years as a political prisoner in the Bastille the aging Dr Manette is finally released and reunited with his daughter in England. There two very different men, Charles Darnay, an exiled French aristocrat, and Sydney Carton, a disreputable but brilliant English lawyer, become enmeshed through their love for Lucie Manette. From the tranquil lanes of London, they are all drawn against their will to the vengeful, bloodstained streets of Paris at the height of the Reign of Terror and soon fall under the lethal shadow of La Guillotine.
With an enticing introduction by bestselling author, Roddy Doyle.
Oliver Twist was first published in serialised form (with illustrations by George Cruikshank) in Bentley’s Miscellany between February 1837 and April 1839. It was issued with some corrections and revisions in ten numbers in 1846 by Bradbury and Evans (which then also issued the same text in a single volume). Each of these ten numbers, including the Cruikshank illustrations and the advertisements, is included in this facsimile reprint of the 1846 edition.
This is one of a series from Broadview Press of facsimile reprint editions—editions that provide readers with a direct sense of these works as the Victorians themselves experienced them.
" Like so many fond parents I have in my heart of hearts a favourite child," wrote Charles Dickens. "And his name is David Copperfield."
Of all of Dickens's novels, David Copperfield most closely reflects the events of his own life. The story of an abandoned waif who discovers life and love in an indifferent world, this classic tale of childhood is populated with a cast of eccentrics, innocents, and villains who number among the author's greatest creations.
"David Copperfield is filled with characters of the most astonishing variety, vividness, and originality," noted Somerset Maugham. "They are not realistic and yet they abound with life. There never were such people as the Micawbers, Pegotty and Barkis, Traddles, Betsey Trotwood and Mr. Dick, Uriah Heep and his mother. They are fantastic inventions of Dickens's exultant imagination, but they have so much vigor, they are so consistent, they are presented with so much conviction, that you believe in them. They are extravagant, but not unreal, and when you have once to know them you can never quite forget them." T. S. Eliot agreed: "Dickens excelled in character; in the creation of characters of greater intensity than human beings." And Virginia Woolf concluded: "In David Copperfield, though char-
acters swarm and life flows into every creek and cranny, some common feelings--youth, gaiety, hope--envelops the tumult, brings the scattered parts together, and invests the most perfect of all the Dickens novels with an atmosphere of beauty."
The Modern Library has played a significant role in American cultural life for the better part of a century. The series was founded in 1917 by the publishers Boni and Liveright and eight years later acquired by Bennett Cerf and Donald Klopfer. It provided the foun-
dation for their next publishing venture, Random House. The Modern Library has been a staple of the American book trade, providing readers with affordable hardbound editions of important works of literature and thought. For the Modern Library's seventy-fifth anniversary, Random House redesigned the series, restoring as its emblem the running torchbearer created by Lucian Bernhard in 1925 and refurbishing jackets, bindings, and type, as well as inaugurating a new program of selecting titles. The Modern Library continues to provide the world's best books, at the best prices.
As a small boy at Joe Gargery's forge, Pip meets two people who will affect his whole life - an escaped convict he is forced to help, and the eccentric Miss Haversham, whose beautiful, cold-hearted ward Estella young Pip adores. But when a secret benefactor pays for him to go to London to become a gentleman, Pip never dreams he will meet the dreadful Magwitch again, nor just how wrong his expectations are.
It begins on a muddy English road in an atmosphere charged with mystery and it ends in the Paris of the Revolution with one of the most famous acts of self-sacrifice in literature. In between lies one of Dickens’s most exciting books—a historical novel that, generation after generation, has given readers access to the profound human dramas that lie behind cataclysmic social and political events. Famous for its vivid characters, including the courageous French nobleman Charles Darnay, the vengeful revolutionary Madame Defarge, and cynical Englishman Sydney Carton, who redeems his ill-spent life in a climactic moment at the guillotine (“It is a far, far better thing that I do, than I have ever done”), the novel is also a powerful study of crowd psychology and the dark emotions aroused by the Revolution, illuminated by Dickens’s lively comedy.
With an Introduction by Simon Schama
From the Trade Paperback edition.
"Dickens's French Revolution is probably more like the French Revolution than Carlyle's," said G. K. Chesterton. "In dignity and eloquence A Tale of Two Cities almost stands alone among the books by Dickens."
I give Pirrip as my father's family name, on the authority of his tombstone and my sister, --Mrs. Joe Gargery, who married the blacksmith. As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs), my first fancies regarding what they were like were unreasonably derived from their tombstones. The shape of the letters on my father's, gave me an odd idea that he was a square, stout, dark man, with curly black hair. From the character and turn of the inscription, "Also Georgiana Wife of the Above," I drew a childish conclusion that my mother was freckled and sickly. To five little stone lozenges, each about a foot and a half long, which were arranged in a neat row beside their grave, ...