In this classically simple tale of the disastrous impact of outside life on a secluded community in Dorset, now in a new edition, Hardy narrates the rivalry for the hand of Grace Melbury between a simple and loyal woodlander and an exotic and sophisticated outsider. Betrayal, adultery, disillusion, and moral compromise are all worked out in a setting evoked as both beautiful and treacherous. The Woodlanders, with its thematic portrayal of the role of social class, gender, and evolutionary survival, as well as its insights into the capacities and limitations of language, exhibits Hardy's acute awareness of his era's most troubling dilemmas.
The narrator of The War of the Worlds is quick to discover that what appeared to be a falling star was, in fact, a metallic cylinder landing from Mars. Six million people begin to flee London in panic as tentacled invaders emerge and overpower the city. With their heat-ray, killing machines, black gas, and a taste for fresh human blood, is there anything that can be done to stop the Martians?
In The War in the Air, naive but resourceful Bert Smallways is thrilled by speed and fascinated by the new flying machines. His curiosity sweeps him away by accident into a German plan to conquer America, beginning with the destruction of New York. The ease of movement in aerial warfare means that nothing and nobody is safe as Total War erupts, civilisation crumbles, and Bert's hopes of getting back to London to marry his love seem impossibly distant.
In these 'scientific romances' H. G. Wells sees the present reflected in the future and the future in the present. His aim is to provoke rather than predict. The Sleeper falls into a trance, waking up two centuries later as the richest man in a world of new technologies, power-greedy leaders, sensual elites, and brutalised industrial slaves. Arriving in the year 802,701, the Time-Traveller finds that humanity has evolved into two drastically different species; going farther still, he witnesses the ultimate fate of the solar system. The Chronic Argonauts, the original version of The Time Machine, pits a scientist with daring views of time and space against superstitious villagers. In all three works Wells laces vivid adventure stories with the latest ideas in biology and physics.
'Each time I dip a living creature into the bath of burning pain, I say: this time I will burn out all the animal, this time I will make a rational creature of my own!' declares Doctor Moreau to hapless narrator Edward Prendick.
Moreau's highly controversial methods and ambitions conflict with the religious, moral and scientific norms of his day and Wells later called The Island of Doctor Moreau 'a youthful exercise in blasphemy'. Today his vivid depictions of the Beast People still strike modern readers with an uncanny glimpse of the animal in the human, while the behaviour of humans leave us wondering who is the most monstrous after all.
This volume unites four of Wells' liveliest and most engaging tales of the strange evolution and behaviour of animals - including human beings. The Island of Doctor Moreau is followed by three fantastic yet chillingly plausible short stories of human-animal encounters. The Empire of the Ants is a darkly humorous account of intelligent Amazonian ants threatening to displace humans as ‘the lords of the future and masters of the earth’. In The Sea Raiders, the south coast of England is terrorized by an unwelcome visit from deep-sea predator Haploteuthis ferox, while Æpyornis Island provides a marooned egg collector with an unusual companion.
Wilkie Collins is a master of mystery, and The Woman in White is his first excursion into the genre. When the hero, Walter Hartright, on a moonlit night in north London, encounters a solitary, terrified and beautiful woman dressed in white, he feels impelled to solve the mystery of her distress.
The intricate plot is peopled with a finely characterised cast, from the peevish invalid Mr Fairlie to the corpulent villain Count Fosco and the enigmatic woman herself.
The Return of the Native is widely recognised as the most representative of Hardy's Wessex novels. He evokes the dismal presence and menacing beauty of Egdon Heath - reaching out to touch the lives and fate of all who dwell on it. The central figure is Clym Yeobright, the returning ‘native’ and the story tells of his love for the beautiful but capricious Eustacia Vye.
As the narrative unfolds and character after character is driven to self-destruction the presence of the Heath becomes all-embracing, while Clym becomes a travelling preacher in an attempt to assuage his guilt.
The House of Mirth tells the story of Lily Bart, aged 29, beautiful, impoverished and in need of a rich husband to safeguard her place in the social elite, and to support her expensive habits - her clothes, her charities and her gambling. Unwilling to marry without both love and money, Lily becomes vulnerable to the kind of gossip and slander which attach to a girl who has been on the marriage market for too long.
Wharton charts the course of Lily's life, providing, along the way, a wider picture of a society in transition, a rapidly changing New York where the old certainties of manners, morals and family have disappeared and the individual has become an expendable commodity.
A Pair of Blue Eyes, though early in the sequence of Hardy's novels, is lively and gripping. Its dramatic cliff-hanging episode, for example, is at once tense, ironic, feministic and erotic.
With settings in Wessex and London, the novel also has some strongly autobiographical features, as the blue-eyed heroine, Elfride Swancourt, is based largely on Emma Gifford, who became Thomas Hardy's first wife. Elfride's vivacious nature attracts several lovers, but she is beset by sexual prejudice, and the ensuing ironies reveal the constraints of her times.
A Pair of Blue Eyes provides an engaging and moving experience for today's readers.
Like George Orwell, Franz Kafka has given his name to a world of nightmare, but in Kafka’s world, it is never completely clear just what the nightmare is. The Trial, where the rules are hidden from even the highest officials, and if there is any help to be had, it will come from unexpected sources, is a chilling, blackly amusing tale that maintains, to the very end, a relentless atmosphere of disorientation. Superficially about bureaucracy, it is in the last resort a description of the absurdity of 'normal' human nature.
Still more enigmatic is The Castle. Is it an allegory of a quasi-feudal system giving way to a new freedom for the subject? The search by a central European Jew for acceptance into a dominant culture? A spiritual quest for grace or salvation? An individual's struggle between his sense of independence and his need for approval? Is it all of these things? And K? Is he opportunist, victim, or an outsider battling against elusive authority?
The Shirley of the title is a woman of independent means; her friend Caroline is not. Both struggle with what a woman's role is and can be. Their male counterparts - Louis, the powerless tutor, and Robert, his cloth-manufacturing brother - also stand at odds to society's expectations. The novel is set in a period of social and political ferment, featuring class disenfranchisement, the drama of Luddite machine-breaking, and the divisive effects of the Napoleonic Wars.
But Charlotte Brontës particular strength lies in exploring the hidden psychological drama of love, loss and the quest for identity. Personal and public agitation are brought together against the dramatic backdrop of her native Yorkshire. As always, Brontë challenges convention, exploring the limitations of social justice whilst telling not one but two love stories.
Kim is Rudyard Kipling’s finest work. Now controversial, this novel is a memorably vivid evocation of the life and landscapes of India in the late nineteenth century. Kim himself is a resourceful lad who befriends a lama, an ageing priest; and both embark on a combined quest. Whereas Kim has an insatiable interest in the varied activities around him, the lama seeks redemption from the ‘Wheel of Life’. Kim becomes involved in the ‘Great Game’, undertaking espionage for the British rulers.
This engrossing and moving novel, with its diversity of memorable characters, offers many insights into political, religious and social tensions.
Richard Hannay finds a corpse in his flat, and becomes involved in a plot by spies to precipitate war and subvert British naval power. The resourceful victim of a manhunt, he is pursued by both the police and the ruthless conspirators.
The Thirty-Nine Steps is a seminal ‘chase’ thriller, rapid and vivid. It has been widely influential and frequently dramatised: the film directed by Alfred Hitchcock became a screen classic. This engaging novel also provides insights into the inter-action of patriotism, fear and prejudice.
‘As a man loved a woman, that was how I loved…It was good, good, good…’
Stephen is an ideal child of aristocratic parents – a fencer, a horse rider and a keen scholar. Stephen grows to be a war hero, a bestselling writer and a loyal, protective lover. But Stephen is a woman, and her lovers are women. As her ambitions drive her, and society confines her, Stephen is forced into desperate actions. The Well of Loneliness was banned for obscenity when published in 1928. It became an international bestseller, and for decades was the single most famous lesbian novel. It has influenced how love between women is understood, for the twentieth century and beyond.
The Professor is Charlotte Brontës first novel, in which she audaciously inhabits the voice and consciousness of a man, William Crimsworth. Like Jane Eyre he is parentless; like Lucy Snowe in Villette he leaves the certainties of England to forge a life in Brussels. But as a man, William has freedom of action, and as a writer Brontë is correspondingly liberated, exploring the relationship between power and sexual desire.
William's first person narration reveals his attraction to the dominating directress of the girls' school where he teaches, played out in the school's 'secret garden'. Balanced against this is his more temperate relationship with one of his pupils, Frances Henri, in which mastery and submission interplay. The Professor was published only after Charlotte Brontës death; today it gives us a fascinating insight into the first stirrings of her supreme creative imagination.
This is the first paperback edition to bring out in one volume Kate Chopin’s extraordinary novel The Awakening (1899), along with the complete text of her two collections of short stories, Bayou Folk (1894) and A Night in Acadie (1897), and twelve uncollected tales.
The Awakening is a strikingly modern, evocative story of self-discovery and female emancipation, set in the sensuous environment of Southern Louisiana, where the young Edna Pontellier reclaims her own individuality, refusing to be defined by her roles of wife and mother.
Chopin’s stories are brilliantly observed, compassionate and often humorous, alert to the foibles, weaknesses and small triumphs of her characters. Overshadowed by the relatively recent fame of The Awakening, they contain some of the best work of this remarkably original author.
Notes from Underground and Other Stories is a comprehensive collection of Dostoevsky’s short fiction. Many of these stories, like his great novels, reveal his special sympathy for the solitary and dispossessed, explore the same complex psychological issues and subtly combine rich characterization and philosophical meditations on the (often) dark areas of the human psyche, all conveyed in an idiosyncratic blend of deadly seriousness and wild humour. In Notes from Underground, the Underground Man casually dismantles utilitarianism and celebrates in its stead a perverse but vibrant masochism. A Christmas Tree and a Wedding recounts the successful pursuit of a young girl by a lecherous old man. In Bobok, one Ivan Ivanovitch listens in on corpses gossiping in a cemetery and ends up deploring their depravity. In A Gentle Spirit, the narrator describes his dawning recognition that he is responsible for his wife’s suicide. In short, as a commentator on spiritual stagnation, Dostoevsky has no equal.
The flaxen-haired beauty of the childlike Lady Audley would suggest that she has no secrets. But M.E. Braddon’s classic novel of sensation uncovers the truth about its heroine in a plot involving bigamy, arson and murder.
It challenges assumptions about the nature of femininity and investigates the narrow divide between sanity and insanity, using as its focus one of the most fascinating of all Victorian heroines.
Combining elements of the detective novel, the psychological thriller and the romance of upper class life, Lady Audley’s Secret was one of the most popular and successful novels of the nineteenth century and still exerts a powerful hold on readers.
In Henry IV, Part 1, the King is in a doubly ironic position. His rebellion against Richard II was successful, but now he himself is beset by rebels, led by the charismatic Harry Hotspur. The King’s son, Prince Hal, seems to be more concerned with the pleasures of the tavern world and the company of the fat rogue, Falstaff, than with concerns of state. Eventually, however, Hal proves a courageous foe of the rebels.
This history play is lively in its interplay of political intrigue and boisterous comedy, subtle in the connections between high statecraft and low craftiness, exuberant in its range of vivid characters, and memorable in its thematic concern with honour, loyalty and the quest for power.
In Henry IV, Part 2, the King is ailing, Falstaff is ageing, and the kingdom itself, where rebellion is still rife, seems diseased or debilitated. The comedy has a melancholy undertone, and the politics verge on the Machiavellian. Eventually, the resourceful Hal, inheriting the crown as Henry V, must prove that he can uphold justice in the realm. Here Shakespeare demonstrates a mastery of thematic complexity and subtlety, and shows the price in human terms that may be exacted by political success.
The Diary of a Nobody is so unassuming a work that even its author, George Grossmith, seemed unaware that he had produced a masterpiece. For more than a century this wonderfully comic portrayal of suburban life and values has remained in print, a source of delight to generations of readers, and a major literary influence, much imitated but never equalled.
If you don’t recognise yourself at some point in The Diary you are probably less than human. If you can read it without laughing aloud you have no sense of humour.
These three wonderful comic novels drolly record the battle between Lucia and Elisabeth Mapp for social and cultural supremacy in the village of Tilling (based on Rye). Their constant skirmishes ensure that every game of bridge, tea or dinner-party, church service, council meeting or art–exhibition are thrilling encounters that ensure Tilling is always on ‘a very agreeable rack of suspense’. Both Elisabeth and Lucia are gross hypocrites, snobs and bullies, the huge differences in temperament and style ensure the battle is usually unequal. Elisabeth is incurably mean-spirited and Lucia suffers from splendid delusions of grandeur and personal prestige. Driven by demons of revenge, Elisabeth always acts impulsively, and therefore every revelation of her meanness allows Lucia, the consummate actress, to kill her ally with a sickening kindness.
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