This Broadview edition also includes a rich selection of historical materials, including writings from the period on sexuality, women’s work, Pamela and the print trade, and education and conduct.
Catherine Ingrassia is an Associate Professor of English at Virginia Commonwealth University, Richmond. She is the author of Authorship, Commerce and Gender in Early Eighteenth-Century England: A Culture of Paper Credit (Cambridge University Press, 1998).
Betsy Thoughtless is the story of the slow metamorphosis of the heroine from thoughtless coquette to thoughtful wife. Ironically, the most decisive moment in this development may be when Betsy decides to leave her emotionally abusive and financially punishing husband; it is only after experiencing independence that she returns to her marriage and to what becomes her husbands deathbed. Betsy Thoughtless may be the first real novel of female development in English. In this edition the text is accompanied by appendices, including writings from the period that shed light on Haywood’s life and work, and on her relationship with contemporaries such as Henry Fielding.
Haywood’s frankness about female sexuality may explain the later neglect of Love in Excess. (In contrast, her accomplished domestic novel, The History of Miss Betsy Thoughtless, has remained available.) Love in Excess and its reception provide a lively and valuable record of the challenge that female desire posed to social decorum.
For the second Broadview edition, the appendix of eighteenth-century responses to Haywood has been considerably expanded.
Neil Gaiman, long inspired by ancient mythology in creating the fantastical realms of his fiction, presents a bravura rendition of the Norse gods and their world from their origin though their upheaval in Ragnarok.
In Norse Mythology, Gaiman stays true to the myths in envisioning the major Norse pantheon: Odin, the highest of the high, wise, daring, and cunning; Thor, Odin’s son, incredibly strong yet not the wisest of gods; and Loki—son of a giant—blood brother to Odin and a trickster and unsurpassable manipulator.
Gaiman fashions these primeval stories into a novelistic arc that begins with the genesis of the legendary nine worlds and delves into the exploits of deities, dwarfs, and giants. Through Gaiman’s deft and witty prose, these gods emerge with their fiercely competitive natures, their susceptibility to being duped and to duping others, and their tendency to let passion ignite their actions, making these long-ago myths breathe pungent life again.
A foundling of mysterious parentage brought up by Mr Allworthy on his country estate, Tom Jones is deeply in love with the seemingly unattainable Sophia Western, the beautiful daughter of the neighbouring squire - though he sometimes succumbs to the charms of the local girls. But when his amorous escapades earn the disapproval of his benefactor, Tom is banished to make his own fortune. Sophia, meanwhile, is determined to avoid an arranged marriage to Allworthy's scheming nephew and escapes from her rambunctious father to follow Tom to London.
Henry Fielding's vivid Hogarthian panorama of eighteenth-century life is spiced with danger and intrigue, bawdy exuberance and good-natured authorial interjections.
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.
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Notwithstanding your constant refusal, when I have asked leave to prefix your name to this dedication, I must still insist on my right to desire your protection of this work.
To you, Sir, it is owing that this history was ever begun. It was by your desire that I first thought of such a composition. So many years have since past, that you may have, perhaps, forgotten this circumstance: but your desires are to me in the nature of commands; and the impression of them is never to be erased from my memory.
Again, Sir, without your assistance this history had never been completed. Be not startled at the assertion. I do not intend to draw on you the suspicion of being a romance writer. I mean no more than that I partly owe to you my existence during great part of the time which I have employed in composing it: another matter which it may be necessary to remind you of; since there are certain actions of which you are apt to be extremely forgetful; but of these I hope I shall always have a better memory than yourself.
Lastly, It is owing to you that the history appears what it now is. If there be in this work, as some have been pleased to say, a stronger picture of a truly benevolent mind than is to be found in any other, who that knows you, and a particular acquaintance of yours, will doubt whence that benevolence hath been copied? The world will not, I believe, make me the compliment of thinking I took it from myself. I care not: this they shall own, that the two persons from whom I have taken it, that is to say, two of the best and worthiest men in the world, are strongly and zealously my friends. I might be contented with this, and yet my vanity will add a third to the number; and him one of the greatest and noblest, not only in his rank, but in every public and private virtue. But here, whilst my gratitude for the princely benefactions of the Duke of Bedford bursts from my heart, you must forgive my reminding you that it was you who first recommended me to the notice of my benefactor.