The Little Prince is a classic tale of equal appeal to children and adults. On one level it is the story of an airman's discovery, in the desert, of a small boy from another planet - the Little Prince of the title - and his stories of intergalactic travel, while on the other hand it is a thought-provoking allegory of the human condition.
First published in 1943, the year before the author's death in action, this translation contains Saint-Exupery's delightful illustrations.
This novel, based on George Eliot's own experiences of provincial life, is a masterpiece of ambiguity in which moral choice is subjected to the hypocrisy of the Victorian age.
As the headstrong Maggie Tulliver grows into womanhood, the deep love which she has for her brother Tom turns into conflict, because she cannot reconcile his bourgeois standards with her own lively intelligence. Maggie is unable to adapt to her community or break free from it, and the result, on more than one level, is tragedy.
The Man in the Iron Mask is the final episode in the cycle of novels featuring Dumas' celebrated foursome of D'Artagnan, Athos, Porthos and Aramis, who first appeared in The Three Musketeers. Some thirty-five years on, the bonds of comradeship are under strain as they end up on different sides in a power struggle that may undermine the young Louis XIV and change the face of the French monarchy. In the fast-paced narrative style that was his trademark, Dumas pitches us straight into the action. What is the secret shared by Aramis and Madame de Chevreuse? Why does the Queen Mother fear its revelation? Who is the mysterious prisoner in the Bastille? And what is the nature of the threat he poses? Dumas, the master storyteller, keeps us reading and guessing until the climactic scene in the grotto of Locmaria, a fitting conclusion to the epic saga of the musketeers.
The House of the Dead is a stark account of Dostoyevsky's own experience of penal servitude in Siberia. In graphic detail he describes the suffering of the convicts - their squalor and degradation, their terror and resignation, from the rampages of a pyschopath to the brief serenity of Christmas Day. Amid the horror of labour in the sub-zero work camp, we hear the stories of the prisoners, and live through the freezing isolation and pain of day after day of misery. We see a young intellectual forced to live, eat and sleep with men from a background of cruelty, coarseness and brutality.
The Gambler is set in a spa town with its casino and international clientele. Alexey Ivanovitch is a young tutor in the household of a general. He is both observer and actor in the tempest which surrounds his impoverished employer, as he envies and mocks the airs and pretensions of his supposed superiors. Everyone is waiting for the death of Granny, the general's rich aunt, but so far from dying, she turns up alive and well, and makes her way to the casino . .
The Diamond as Big as the Ritz is an ominous fable about the pursuit of great wealth. Readers will be transported to a fabulous fantasy land of such opulence that its very existence has to remain a jealously guarded secret. Fatal consequences lie in store for 'bona fide' guests and uninvited visitors alike, while the sybaritic luxury of the place is evoked in an effortless prose style which is quintessentially F. Scott Fitzgerald. Also featured in this volume are The Cut-Glass Bowl, May Day, The Rich Boy, Crazy Sunday, An Alcoholic Case, The Lees of Happiness, The Lost Decade and Babylon Revisited.
Prince Myshkin returns to Russia from an asylum in Switzerland. As he becomes embroiled in the frantic amatory and financial intrigues which centre around a cast of brilliantly realised characters and which ultimately lead to tragedy, he emerges as a unique combination of the Christian ideal of perfection and Dostoevsky's own views, afflictions and manners. His serene selflessness is contrasted with the worldly qualities of every other character in the novel. Dostoevsky supplies a harsh indictment of the Russian ruling class of his day who have created a world which cannot accomodate the goodness of this idiot.
Tender is the Night is a story set in the hedonistic high society of Europe during the ‘Roaring Twenties’. A wealthy schizophrenic, Nicole Warren, falls in love with Dick Diver - her psychiatrist. The resulting saga of the Divers’ troubled marriage, and their circle of friends, includes a cast of aristocratic and beautiful people, unhappy love affairs, a duel, incest, and the problems inherent in the possession of great wealth. Despite cataloguing a maelstrom of interpersonal conflict, Tender is the Night has a poignancy and warmth that springs from the quality of Fitzgerald's writing and the tragic personal experiences on which the novel is based.
Six years separate Tender is the Night and The Last Tycoon, the novel Fitzgerald left unfinished at his death in December 1940. Fitzgerald lived in Hollywood more or less continuously from July 1937 until his death, and a novel about the film industry at the height of 'the studio system' centred on the working life of a top producer was begun in 1939. Even in its incomplete state The Last Tycoon remains the greatest American novel about Hollywood and contains some of Fitzgerald's most brilliant writing.
Set in Hardy's Wessex, Tess is a moving novel of hypocrisy and double standards. Its challenging sub-title, A Pure Woman, infuriated critics when the book was first published in 1891, and it was condemned as immoral and pessimistic.
It tells of Tess Durbeyfield, the daughter of a poor and dissipated villager, who learns that she may be descended from the ancient family of d'Urbeville. In her search for respectability her fortunes fluctuate wildly, and the story assumes the proportions of a Greek tragedy. It explores Tess's relationships with two very different men, her struggle against the social mores of the rural Victorian world which she inhabits and the hypocrisy of the age.
In addressing the double standards of the time, Hardy’s masterly evocation of a world which we have lost, provides one of the most compelling stories in the canon of English literature, whose appeal today defies the judgement of Hardy’s contemporary critics.
This collection of Poe's best stories contains all the terrifying and bewildering tales that characterise his work. As well as the Gothic horror of such famous stories as 'The Pit and the Pendulum', 'The Fall of the House of Usher', 'The Premature Burial' and 'The Tell-Tale Heart', all of Poe's Auguste Dupin stories are included.
These are the first modern detective stories and include 'The Murders in the Rue Morgue', 'The Mystery of Marie Roget' and 'The Purloined Letter'.
'In the great mirror opposite I saw myself, and right behind, another wicked fearful self, so like me my soul seemed to quiver within me, as though not knowing to which similitude of body it belonged'.
Elizabeth Gaskell is better known today for her pioneering social novels such as Mary Barton (1848) but she also wrote some fascinating tales of the supernatural and the macabre, which are collected here in this volume. The real charm of this dark anthology is its variety. Unlike so many writers of this kind of material, Gaskell allows the story to fit the style rather than the other way around and as result there is a charming freshness to each tale.
This remarkable author uses different voices, tones and topics to engage her readers and as you turn from one story to the next you cannot be quite sure what to expect.
The diverse tales selected for this volume display the astonishing virtuosity of Rudyard Kipling's early writings. A Nobel prize-winner, Kipling was phenomenally productive and imaginative, displaying a literary mastery of idioms, technology and technical terms, exotic locations, and social range. He gained immense popularity, becoming (as these stories indicate) the knowledgeable spokesman for a wide public.
Later, although Kipling's right-wing views increasingly incurred hostility, his creativity remained formidable. In this rich collection, we encounter bold realism, poignant nostalgia, dark comedy, the vividly horrific, the exuberantly fanciful and the disturbingly uncanny.
From its first publication in 1719, Robinson Crusoe has been printed in over 700 editions. It has inspired almost every conceivable kind of imitation and variation, and been the subject of plays, opera, cartoons, and computer games. The character of Crusoe has entered the consciousness of each succeeding generation as readers add their own interpretation to the adventures so thrillingly 'recorded' by Defoe. Praised by eminent figures such as Coleridge, Rousseau and Wordsworth, this perennially popular book was cited by Karl Marx in Das Kapital to illustrate economic theory. However it is readers of all ages over the last 280 years who have given Robinson Crusoe its abiding position as a classic tale of adventure.
Young women who have no economic or political power must attend to the serious business of contriving material security'. Jane Austen's sardonic humour lays bare the stratagems, the hypocrisy and the poignancy inherent in the struggle of two very different sisters to achieve respectability.
Sense and Sensibility is a delightful comedy of manners in which the sisters Elinor and Marianne represent these two qualities. Elinor's character is one of Augustan detachment, while Marianne, a fervent disciple of the Romantic Age, learns to curb her passionate nature in the interests of survival.
This book, the first of Austen’s novels to be published, remains as fresh a cautionary tale today as it ever was.
Wilde's only novel, first published in 1890, is a brilliantly designed puzzle, intended to tease conventional minds with its exploration of the myriad interrelationships between art, life, and consequence. From its provocative Preface, challenging the reader to believe in 'art for art's sake', to its sensational conclusion, the story self-consciously experiments with the notion of sin as an element of design.
Yet Wilde himself underestimated the consequences of his experiment, and its capacity to outrage the Victorian establishment. Its words returned to haunt him in his court appearances in 1895, and he later recalled the 'note of doom' which runs like 'a purple thread' through its carefully crafted prose.
What does persuasion mean - a firm belief, or the action of persuading someone to think something else? Anne Elliot is one of Austen's quietest heroines, but also one of the strongest and the most open to change. She lives at the time of the Napoleonic wars, a time of accident, adventure, the making of new fortunes and alliances.
A woman of no importance, she manoeuvres in her restricted circumstances as her long-time love Captain Wentworth did in the wars. Even though she is nearly thirty, well past the sell-by bloom of youth, Austen makes her win out for herself and for others like herself, in a regenerated society.
"Pride and Prejudice", which opens with one of the most famous sentences in English Literature, is an ironic novel of manners. In it, the garrulous and empty-headed Mrs Bennet has only one aim - that of finding a good match for each of her five daughters. In this, she is mocked by her cynical and indolent husband. With its wit, its social precision and, above all, its irresistible heroine, "Pride and Prejudice" has proved one of the most enduringly popular novels in the English language.
Northanger Abbey tells the story of a young girl, Catherine Morland who leaves her sheltered, rural home to enter the busy, sophisticated world of Bath in the late 1790s. Austen observes with insight and humour the interaction between Catherine and the various characters whom she meets there, and tracks her growing understanding of the world about her.
In this, her first full-length novel, Austen also fixes her sharp, ironic gaze on other kinds of contemporary novel, especially the Gothic school made famous by Ann Radcliffe. Catherine's reading becomes intertwined with her social and romantic adventures, adding to the uncertainties and embarrassments she must undergo before finding happiness.
Adultery is not a typical Jane Austen theme, but when it disturbs the relatively peaceful household at Mansfield Park, it has quite unexpected results.
The diffident and much put-upon heroine Fanny Price has to struggle to cope with the results, re-examining her own feelings while enduring the cheerful amorality, old-fashioned indifference and priggish disapproval of those around her.
In the hope of saving her brother's life, should a woman submit to rape? Should the law be respected when its administrator is corrupt? How powerful in the state should religion become? Although Measure for Measure ends like a comedy, with reconciliations, forgiveness and marriages, it has often been regarded as one of Shakespeare's problem plays. The drama shows the difficulty of effecting an appropriate balance between judicial severity and mercy, between sexual repression and decadence, and between political vigilance and social manipulation. These problems remain topical, and, in Measure for Measure, they are given immediacy by vivid character-conflicts and memorably intense poetry. This is one of Shakespeare's most probing and powerful works.
Virginia Woolf's singular technique in Mrs Dalloway heralds a break with the traditional novel form and reflects a genuine humanity and a concern with the experiences that both enrich and stultify existence.
Society hostess, Clarissa Dalloway is giving a party. Her thoughts and sensations on that one day, and the interior monologues of others whose lives are interwoven with hers gradually reveal the characters of the central protagonists. Clarissa's life is touched by tragedy as the events in her day run parallel to those of Septimus Warren Smith, whose madness escalates as his life draws toward inevitable suicide.
The delicate artistry and lyrical prose of Woolf?s fourth novel have established her as a writer of profound talent.
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