With its four-letter words and its explicit descriptions of sexual intercourse, Lady Chatterley's Lover is the novel with which D.H. Lawrence is most often associated. First published privately in Florence in 1928, it only became a world-wide best-seller after Penguin Books had successfully resisted an attempt by the British Director of Public Prosecutions to prevent them offering an unexpurgated edition. The famous 'Lady Chatterley trial' heralded the sexual revolution of the coming decades and signalled the defeat of Establishment prudery.
Yet Lawrence himself was hardly a liberationist and the conservativism of many aspects of his novel would later lay it open to attacks from the political avant-garde and from feminists. The story of how the wife of Sir Clifford Chatterley responds when her husband returns from the war paralysed from the waist down, and of the tender love which then develops between her and her husband's gamekeeper, is a complex one open to a variety of conflicting interpretations.
This edition of the novel offers an occasion for a new generation of readers to discover what all the fuss was about; to appraise Lawrence's bitter indictment of modern industrial society, and to ask themselves what lessons there might be for the 21st century in his intense exploration of the complicated relations between love and sex.
One of the great classics of western literature, Les Misérables is a magisterial work which is rich in both character portrayal and meticulous historical description.
Characters such as the absurdly criminalised Valjean, the street urchin Gavroche, the rascal Thenardier, the implacable detective Javert, and the pitiful figure of the prostitute Fantine and her daughter Cosette, have entered the pantheon of literary dramatis personae.
The reader is also treated to the unforgettable descriptions of the Battle of Waterloo and Valjean?s flight through the Paris sewers.
Considered by many to be Dickens' finest novel, Great Expectations traces the growth of the book's narrator, Philip Pirrip (Pip), from a boy of shallow dreams to a man with depth of character. From its famous dramatic opening on the bleak Kentish marshes, the story abounds with some of Dickens' most memorable characters. Among them are the kindly blacksmith Joe Gargery, the mysterious convict Abel Magwitch, the eccentric Miss Haversham and her beautiful ward Estella, Pip's good-hearted room-mate Herbert Pocket and the pompous Pumblechook. As Pip unravels the truth behind his own ‘great expectations’ in his quest to become a gentleman, the mysteries of the past and the convolutions of fate through a series of thrilling adventures serve to steer him towards maturity and his most important discovery of all - the truth about himself.
Generally regarded as the pre-eminent work of Conrad's shorter fiction, Heart of Darkness is a chilling tale of horror which, as the author intended, is capable of many interpretations. Set in the Congo during the period of rapid colonial expansion in the 19th century, the story deals with the highly disturbing effects of economic, social and political exploitation of European and African societies and the cataclysmic behaviour this induced in some individuals.
The other two stories in this book – Youth and The End of the Tether – concern the sea and those who sail upon it, a genre in which Conrad reigns supreme.
The Wordsworth Classics' Shakespeare Series, with Henry V as its inaugral volume, presents a newly-edited sequence of William Shakespeare's works. The textual editing endeavours to take account of recent scholarship while giving the material a careful reappraisal.
Henry V is the most famous and influential of Shakespeare's history plays. Its powerful patriotic rhetoric has resounded down the ages, gaining eloquent expression in Laurence Olivier's renowned film. Henry himself, astute and charismatic, who led his ‘band of brothers’ to victory in the Battle of Agincourt, could indeed seem to be ‘this star of England’. In recent decades the play has attracted increasing critical attention and is now highly controversial. Kenneth Branagh's film-production reflected the changing valuation. Does this play have a sceptical sub-text which subverts its patriotism? Is Henry's achievement beset by irony? Has current scepticism distorted a predominantly and proudly nationalistic drama? Henry V demonstrates Shakespeare's acclaimed ability to bring new complexity to the material that he adapted, so that different eras may find within his work the familiar and the strange, the congenial and the harsh, the sustaining and the challenging.
Jonathan Swift's classic satirical narrative was first published in 1726, seven years after Defoe's Robinson Crusoe (one of its few rivals in fame and breadth of appeal).
As a parody travel-memoir it reports on extraordinary lands and societies, whose names have entered the English language: notably the minute inhabitants of Lilliput, the giants of Brobdingnag, and the Yahoos in Houyhnhnmland, where talking horses are the dominant species. It spares no vested interest from its irreverent wit, and its attack on political and financial corruption, as well as abuses in science, continue to resonate in our own times.
Unusually for Dickens, Hard Times is set, not in London, but in the imaginary mid-Victorian Northern industrial town of Coketown with its blackened factories, downtrodden workers and polluted environment. This is the soulless domain of the strict utilitarian Thomas Gradgrind and the heartless factory owner Josiah Bounderby. However human joy is not excluded thanks to 'Mr Sleary's Horse-Riding' circus, a gin-soaked and hilarious troupe of open-hearted and affectionate people who act as an antidote to all the drudgery and misery endured by the ordinary citizens of Coketown.
With an Introduction and Notes by Professor Len Platt, Professor of Modern Literatures, Head of Goldsmiths Learning Enhancement Unit, Goldsmiths, University of London,New Cross, London SE14 6NW.
Finnegans Wake is the book of Here Comes Everybody and Anna Livia Plurabelle and their family - their book, but in a curious way the book of us all as well as all our books. Joyce's last great work, it is not comprised of many borrowed styles, like Ulysses, but, rather, formulated as one dense, tongue-twisting soundscape.
This ‘language’ is based on English vocabulary and syntax but, at the same time, self-consciously designed to function as a pun machine with an astonishing capacity for resisting singularity of meaning. Announcing a ‘revolution of the word’, this astonishing book amounts to a powerfully resonant cultural critique - a unique kind of miscommunication which, far from stabilizing the world in meaning, constructs a universe radically unfixed by a wild diversity of possibilities and potentials. It also remains the most hilarious, ‘obscene’, book of innuendos ever to be imagined.
Begun when the author was only eighteen and conceived from a nightmare, Frankenstein is the deeply disturbing story of a monstrous creation which has terrified and chilled readers since its first publication in 1818.
The novel has thus seared its way into the popular imagination while establishing itself as one of the pioneering works of modern science fiction.
JULES VERNE (1828-1905) was internationally famous as the author of novels based on ‘extraordinary voyages.’ His visionary use of new travel technologies inspired his readers to look to the industrial future rather than the remote past for their dreams of adventure. The popularity of his novels led directly to modern science fiction.
In From the Earth to the Moon and Around the Moon, Jules Verne turned the ancient fantasy of space flight into a believable technological possibility – an engineering dream for the industrial age. Directly inspired by Verne’s story, enthusiasts worked successfully at overcoming the practical difficulties, and within a century, human beings did indeed fly to the Moon. Curiously, however, Verne is unlikely to have thought it possible that a manned projectile could actually be fired out of a giant cannon, rising higher than the Moon, swinging around it, and then landing safely back on Earth. He had used the science of the day to construct a literary conjuring trick, a hoax, one of the most successful in all history. By skilful misdirection he drew the attention of readers away from weaknesses in the project. Read the book and you, too, will be fooled into accepting the realistic possibility in Verne’s time of that dream of flying to the Moon.
Russia in the 1840s. There is a stranger in town, and he is behaving oddly. The unctuous Pavel Chichikov goes around the local estates buying up 'dead souls'. These are the papers relating to serfs who have died since the last census, but who remain on the record and still attract a tax demand. Chichikov is willing to relieve their owners of the tax burden by buying the titles for a song. What he does not say is that he then proposes to take out a huge mortgage against these fictitious citizens and buy himself a nice estate in Eastern Russia. Will he get away with it? Who will rumble him? Does this narrative contain a deeper message about Russia itself or the spiritual health of humanity?
There is much interest and some suspense in considering these issues, but the real pleasure of this story lies elsewhere. It is an enjoyable comic romp through a retarded part of a backward country, a picaresque series of grotesque portraits, situations and conversations described with Gogolian humour based mainly on hyperbole. This is, quite simply, the funniest book in the Russian language before the twentieth century.
Mr Dombey is a man obsessed with his firm. His son is groomed from birth to take his place within it, despite his visionary eccentricity and declining health. But Dombey also has a daughter, whose unfailing love for her father goes unreturned. 'Girls' said Mr Dombey, 'have nothing to do with Dombey and Son'. When Walter Gay, a young clerk in her father's office, rescues her from a bewildering experience in the streets of London, his unforgettable friends believe he is well on his way to receiving her hand in marriage and inheriting the company. It is to be a very different type of story.
Living overseas but writing, always, about his native city, Joyce made Dublin unforgettable. The stories in Dubliners show us truants, seducers, gossips, rally-drivers, generous hostesses, corrupt politicians, failing priests, amateur theologians, struggling musicians, moony adolescents, victims of domestic brutishness, sentimental aunts and poets, patriots earnest or cynical, and people striving to get by.
In every sense an international figure, Joyce was faithful to his own country by seeing it unflinchingly and challenging every precedent and piety in Irish literature.
Jane Austen teased readers with the idea of a 'heroine whom no one but myself will much like', but Emma is irresistible. 'Handsome, clever, and rich', Emma is also an 'imaginist', 'on fire with speculation and foresight'. She sees the signs of romance all around her, but thinks she will never be married.
Her matchmaking maps out relationships that Jane Austen ironically tweaks into a clearer perspective. Judgement and imagination are matched in games the reader too can enjoy, and the end is a triumph of understanding.
‘I was conscious of a most horrible smell of mould, and of a cold kind of face pressed against my own, and moving slowly over it, and of several - I don't know how many - legs and arms or tentacles or something clinging to my body.’
M.R. James is probably the finest ghost-story writer England has ever produced. The stories are classics of their genre. Among them are ‘Casting the Runes’, ‘Oh, Whistle and I'll come to you, my lad’, ‘The Tractate Middoth’, ‘The Ash Tree’ and ‘Canon Alberic’s Scrapbook’. They are all designed to instil that satisfying sensse of unease in the heart of the reader.
‘There are some authors one wishes one had never read in order to have the joy of reading them for the first time. For me, M.R. James is one of these’.
Ruth Rendell
Interest in supernatural phenomena was high during Charles Dickens' lifetime. He had always loved a good ghost story himself, particularly at Christmas time, and was open-minded, willing to accept, and indeed put to the test, the existence of spirits. His natural inclinations toward drama and the macabre made him a brilliant teller of ghost tales, and in the twenty stories presented here, which include his celebrated A Christmas Carol, the full range of his gothic talents can be seen. Chilling as some of these stories are, Dickens has managed to inject characteristically grotesque comedy as he writes of revenge, insanity, pre-cognition and dream visions, he indulges also in some debunking of contemporary credulity.
In these five long stories, written specifically for Christmas, Dickens combines his concern for social ills with the myths and memories of childhood and traditional seasonal lore.
A Christmas Carol, the first of the selection, has become a touchstone of English festive fiction and an enduring favourite internationally. Repeatedly adapted, parodied, staged and filmed, this richly influential tale is powerfully vivid and moving.
The other stories, The Chimes, The Cricket on the Hearth, The Battle of Life andThe Haunted Man, blend whimsy, sentiment, comedy, satire, the didactic and the fantastic, developing resourcefully the theme of individual and social regeneration.
Around the World in Eighty Days (1873) relates the hair-raising journey made as a wager by the Victorian gentleman Phileas Fogg, who succeeds - but only just! - in circling the globe within eighty days. The dour Fogg's obsession with his timetable is complemented by the dynamism and versatility of his French manservant, Passepartout, whose talent for getting into scrapes brings colour and suspense to the race against time.
Five Weeks in a Balloon (1863) was Verne's first novel. It documents an apocryphal jaunt across the continent of Africa in a hydrogen balloon designed by the omniscient, imperturbable and ever capable Dr Fergusson, the prototype of the Vernian adventurer.
William Blake was an engraver, painter and visionary mystic as well as one of the most revolutionary of the Romantic poets. His writing attracted the astonished admiration of authors as diverse as Wordsworth, Ruskin, W.B.Yeats, and more recently beat poet Allen Ginsberg and the 'flower power' generation. He is one of England's most original artists whose works aim to liberate imaginative energies and subvert 'the mind-forged manacles' of restriction.
This volume contains many of his writings, including: 'Songs of Innocence', 'Songs of Experience', 'The Marriage of Heaven and Hell', and a generous selection from the Prophetic Books including 'Milton' and 'Jerusalem'.
Bleak House is one of Dickens' finest achievements, establishing his reputation as a serious and mature novelist, as well as a brilliant comic writer. It is at once a complex mystery story that fully engages the reader in the work of detection, and an unforgettable indictment of an indifferent society. Its representations of a great city's underworld, and of the law's corruption and delay, draw upon the author's personal knowledge and experience. But it is his symbolic art that projects these things in a vision that embraces black comedy, cosmic farce, and tragic ruin. In a unique creative experiment, Dickens divides the narrative between his heroine, Esther Summerson, who is psychologically interesting in her own right, and an unnamed narrator whose perspective both complements and challenges hers.
Ten produkt jest zapowiedzią. Realizacja Twojego zamówienia ulegnie przez to wydłużeniu do czasu premiery tej pozycji. Czy chcesz dodać ten produkt do koszyka?
