'I am making up "To the Lighthouse" - the sea is to be heard all throughit'Inspired by the lost bliss of her childhood summers in Cornwall, Virginia Woolfproduced one of the masterworks of English literature in To the Lighthouse. Itconcerns the Ramsay family and their summer guests on the Isle of Skye beforeand after the First World War. As children play and adults paint, talk, muse andexplore, relationships shift and mutate. A captivating fusion of elegy,autobiography, socio-political critique and visionary thrust, it is the mostaccomplished of all Woolf's novels. On completing it, she thought she hadexorcised the ghosts of her imposing parents, but she had also brought form to abook every bit as vivid and intense as the work of Lily Briscoe, the indomitableartist at the centre of the novel.
Today, nearly forty years after his death, Nobel Prize winner John Steinbeck remains one of Americaís greatest writers and cultural figures. Over the next year, his many works published as black-spine Penguin Classics for the first time and will feature eye-catching, newly commissioned art. The Grapes of Wrath is a landmark of American literature. A portrait of the conflict between the powerful and the powerless, of one manís fierce reaction to injustice, and of one womanís stoical strength, the novel captures the horrors of the Great Depression and probes into the very nature of equality and justice in America. Although it follows the movement of thousands of men and women and the transformation of an entire nation, The Grapes of Wrath is also the story of one Oklahoma family, the Joads, who are driven off their homestead and forced to travel west to the promised land of California. Out of their trials and their repeated collisions against the hard realities of an America divided into Haves and Have-Nots evolves a drama that is intensely human yet majestic in its scale and moral vision, elemental yet plainspoken, tragic but ultimately stirring in its human dignity.
EDITORIAL REVIEW:
*Age of Innocence*, by **Edith Wharton**, is part of the *Barnes & Noble Classics** *series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of *Barnes & Noble Classics*: New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriateAll editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. *Barnes & Noble Classics *pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. Winner of the 1921 Pulitzer Prize, *The Age of Innocence* is **Edith Wharton**’s masterful portrait of desire and betrayal during the sumptuous Golden Age of Old New York, a time when society people “dreaded scandal more than disease.”This is Newland Archer’s world as he prepares to marry the beautiful but conventional May Welland. But when the mysterious Countess Ellen Olenska returns to New York after a disastrous marriage, Archer falls deeply in love with her. Torn between duty and passion, Archer struggles to make a decision that will either courageously define his life—or mercilessly destroy it.**Maureen Howard**** is a critic, teacher, and writer of fiction. Her seven novels include *Bridgeport Bus*, *Natural History*, and *A Lover’s Almanac*. Her memoir, *Facts of Life*, won the National Book Critics’ Circle Award. She has taught at Yale and Columbia University.
Hailed as one of the finest novels to come out of the Second World War, The Naked and the Deadreceived unprecedented critical acclaim upon its publication and has since become part of the American canon. This fiftieth anniversary edition features a new introduction created especially doe the occasion by Norman Mailer. Written in gritty, journalistic detail, the story follows an army platoon of foot soldiers who are fighting for the possession of the Japanese-held island of Anopopei. Composed in 1948, The Naked and the Deadis representative of the best in twentieth-century American writing.
SUMMARY: ""I was born twice: first, as a baby girl, on a remarkably smogless Detroit day of January 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of l974. . . My birth certificate lists my name as Calliope Helen Stephanides. My most recent driver's license...records my first name simply as Cal."" So begins the breathtaking story of Calliope Stephanides and three generations of the Greek-American Stephanides family who travel from a tiny village overlooking Mount Olympus in Asia Minor to Prohibition-era Detroit, witnessing its glory days as the Motor City, and the race riots of l967, before they move out to the tree-lined streets of suburban Grosse Pointe, Michigan. To understand why Calliope is not like other girls, she has to uncover a guilty family secret and the astonishing genetic history that turns Callie into Cal, one of the most audacious and wondrous narrators in contemporary fiction. Lyrical and thrilling, "Middlesex "is an exhilarating reinvention of the American epic. Jeffrey Eugenides was born in Detroit, Michigan, in 1960, graduated from Brown University, and received an M.A. in English and Creative Writing from Stanford University in 1986. His first novel, "The Virgin Suicides," was published in 1993. Winner of the Pulitzer PrizeA "New York Times" Editors' ChoiceA "Los Angeles Times" Best BookNational Book Critics Circle Award NomineeLambda Literary Award Nominee In the spring of 1974, Calliope Stephanides, a student at a girls' school in Grosse Pointe, finds herself drawn to a chain-smoking, strawberry blond classmate with a gift for acting. The passion that furtively develops between them--along with Callie's failure to develop physically--leads Callie to suspect that she is not like other girls. In fact, she is not really a girl at all. The explanation for this shocking state of affairs is a rare genetic mutation--and a guilty secret--that have followed Callie's grandparents from the crumbling Ottoman Empire to Prohibition-era Detroit and beyond, outlasting the glory days of the Motor City, the race riots of 1967, and the family's second migration, into the foreign country known as suburbia. Thanks to the gene, Callie is part girl, part boy. And even though the gene's epic travels have ended, her own odyssey has only begun. Spanning eight decades--and one unusually awkward adolescence--Jeffrey Eugenides' long-awaited second novel is a grand, original fable of crossed bloodlines, the intricacies of gender, and the deep, untidy promptings of desire. Winner of the Pulitzer Prize "A towering achievement . . . A story that manages to be both illuminating and transcendent . . . [Eugenides] has emerged as the great American writer many of us suspected him of being."--Jeff Turrentine, "Los Angeles Times Book Review" "Jeffrey Eugenides is a big and big-hearted talent, and "Middlesex" is a weird, wonderful novel that will sweep you off your feet."--Jonathan Franzen "Impressive [and] wonderfully engaging . . . A Buddenbrooks-like saga that traces three generations' efforts to grapple with America and with their own versions of the American Dream . . . [Eugenides] has not only followed up on a precocious debut with a broader and more ambitious book, but in doing so, he has also delivered a deeply affecting portrait of one family's tumultuous engagement with the American 20th century . . . It is a novel that employs all its author's rich storytelling talents to give us one Greek-American family's idiosyncratic journey from the not-so-pearly gates of Ellis Island to the suburban vistas of Grosse Pointe, Michigan, while at the same time tracing the rise and fall in fortunes of Detroit, from its apotheosis as the Motor City in the 40's and 50's through the race riots of 1967 and its subsequent decline. It is also a novel that invokes ancient myths and contemporary pop songs to show how family traits and inclinations are passed down generation to generation, a novel that uses musical leitmotifs to show the unexpected ways in which chance and fate weave their improvisations into the loom of family life."--Michiko Kakutani, "The New York Times" "One of the delights of "Middlesex" is how soundly it's constructed, with motifs and characters weaving through the novel's episodes, pulling it tight . . . His narrator is a soul who inhabits a liminal realm, a creature able to bridge the divisions that plague humanity, endowed with 'the ability to communicate between the genders, to see not with the monovision of one sex but in the stereoscope of both. That utopian reach makes "Middlesex" deliriously American; the novel's patron saint is Walt Whitman, and it has some of the shagginess of that poet's verse to go along with the exuberance. But mostly it is a colossal act of curiosity, of imagination and of love."--Laura Miller, "The New York Times Book Review" "At last Detroit has its great novel. What Dublin got from James Joyce--a sprawling, ambitious, loving exasperated, and playful chronicle of all its good and bad parts--Detroit has from native son Eugenides."--"Detroit Free Press" "A towering achievement . . . A story that manages to be both illuminating and transcendent . . . [Eugenides] has emerged as the great American writer many of us suspected him of being."--Jeff Turrentine, "Los Angeles Times Book Review" "Whatever you might be expecting, "Middlesex" will surprise you . . . a rolling epic . . . the kind of book that urges you to be read in one day, then reread."--Jonathan Safran Foer, "Bomb" "Rollicking, gleefully inventive . . . "Middlesex" serves as a tribute to Nabokovian themes . . . Eugenides recounts the revelation of Callie's genetic abnormality through a series of near-discoveries that are amazingly, comically missed."--"The Washington Post" "A big, cheeky, splendid novel, and its confidence is part of its success, because it goes places few narrators would dare to tread . . . Because Eugenides has imbued his second novel with transcontinental range and historical depth, he has thrown open the gates of Ithaca and sent his narrator on the road. And because he has remembered that the human experience of it is the sine qua non of any adventure, he has given us something lyrical and fine."--Gail Caldwell, "The Boston Globe" ""Middlesex" is a novel about discovery, one man's discovery of his place in the world and acceptance of his singularity, his uniqueness. In the process, it is a novel that challenges our preconceptions about gender and our understanding of the universal truths of growing up and growing old."--Michael Pearson, "The Atlanta Journal-Constitution" ""Middlesex" sweeps the reader along with easy grace and charm, tactfully concealing intelligence, sophistication, and the ache of earned wisdom beneath bushels of inventive storytelling . . . the novel's carefully studied casual look . . . [is] a little like Callie's mismatched features-'taken all together, something captivating emerged. An inadvertent harmony.'"--"The New York Observer" "An Epic . . . This feast of a novel is thrilling in the scope of its imagination and surprising in its tenderness."--"People " "["Middlesex" is] one of the most impressive American novels . . . Eugenides has created a spirited, high-energy comic epic. At once remarkably readable, intelligent, and moving, Middlesex becomes that rare cultural hybrid, a page-turner that wows the critics."--"Newsday" "A big book so wildly imagined . . . and yet so warm-hearted that it's hard to resist . . . it is frequently hilarious and touching."--"USA Today " "An often affecting, funny, and deeply human book . . . a charming writer . . . "Middlesex" is enormously ambitious book, whose many stories do indeed gather to present a broad swath of Greek-American life."--"The New Republic " "The verbal energy and narrative range of Saul Bellow's early fiction (say, " The Adventures of Augie March") are born again in this dazzling novel . . . A virtuosic combination of elegy, sociohistorical study, and picaresque adventure: altogether irresistible."--"Kirkus Reviews" "In his second novel, the author once again proves himself to be a wildly imaginative writer . . . Likely to hold readers in thrall with its affecting characterizations of a brave and lonely soul and its vivid depiction of exactly what it means to be both male and female."--Joanne Wilkinson, "Booklist" "Eugenides proves that he is not only a unique voice in modern literature but also well versed in the nature of the human heart. Highly recommended."--"Library Journal" "From the opening paragraph, in which the narrator explains that he was 'born twice, ' first as a baby girl in 1960, then as a teenage boy in 1974, readers are aware that Calliope Stephanides is a hermaphrodite. To explain his situation, Cal starts in 1922, when his grandparents came to America. In his role as the 'prenatal narrator, ' he tells the love story of this couple, who are brother and sister; his parents are blood relatives as well. Then he tells his own story, which is that of a female child growing up in suburban Detroit with typical adolescent concerns. Callie, as he is know then, worries because she hasn't developed breasts or started menstruating; her facial hair is blamed on her ethnicity, and she and her mother go to get waxed together. She develops a passionate crush on her best girlfriend, 'the Object, ' and consummates it in a manner both detached and steamy. Then an accident causes Callie to find out what she's been suspecting--she's not actually a girl. The story questions what it is that makes us who we are and concludes that one's inner essence stays the same, even in light of drastic outer changes. Mostly, the novel remains a universal narrative of a girl who's happy to grow up but hates having to leave her old self behind. Readers will love watching the narrator go from Callie to Cal, and witnessing all of the life experiences that get her there."--"School Library Journal"
No punches are pulled in Henry Miller's most famous work. Still pretty rough going for even our jaded sensibilities, but Tropic of Cancer is an unforgettable novel of self-confession. Maybe the most honest book ever written, this autobiographical fiction about Miller's life as an expatriate American in Paris was deemed obscene and banned from publication in this country for years. When you read this, you see immediately how much modern writers owe Miller.
Starred Review. Millers once controversial story that ended up altering United States censorship laws tells of a young writer and his pals in Paris during the Great Depression. Part memoir, part fictional tale, Millers prose is a complex mix that demands the readers utmost attention. Campbell Scott reads with a gentle, steady voice that captures the more personal side of Millers writing. Scott is in conversation with himself, posing questions and offering up answers apparently on a whim. His reading is incredibly rich and layered, filled with emotions and ideologies. The result is a stunning, intimate listen that will lure listeners in with its straightforward approach and keep them rapt with its raw honesty. (Sept.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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The Death of the Heart is perhaps Elizabeth Bowen's best-known book. As she deftly and delicately exposes the cruelty that lurks behind the polished surfaces of conventional society, Bowen reveals herself as a masterful novelist who combines a sense of humor with a devastating gift for divining human motivations.
In this piercing story of innocence betrayed set in the thirties, the orphaned Portia is stranded in the sophisticated and politely treacherous world of her wealthy half-brother's home in London.There she encounters the attractive, carefree cad Eddie. To him, Portia is at once child and woman, and her fears her gushing love. To her, Eddie is the only reaason to be alive. But when Eddie follows Portia to a sea-side resort, the flash of a cigarette lighter in a darkened cinema illuminates a stunning romantic betrayal--and sets in motion one of the most moving and desperate flights of the heart in modern literature.
Five words of advice on reading Elizabeth Bowen: Resist the urge to skim. In The Death of the Heart, Bowen's writing rolls ever onward, accruing the sensations and ironies of conscious living till the final effect is massive. This is not prose for people who like their fiction with a cool, Calvin Klein-like minimalism. Bowen's people are keenly aware, and she seems to catalogue every sweaty moment, every betraying glance. The reader must stay right there with her, because hidden among lengthy descriptions of sea air and drawing-room politics are pithy asides worthy of great humorists: "Absence blots people out. We really have no absent friends." Skimmers miss out.
The Death of the Heart is Bowen's most perfectly made book. Portia, an orphan, comes to live in London with her half-brother, Thomas, and his wife, Anna. A child of sin raised in a series of shabby French hotels, Portia is possessed of a kind of terrible innocence. Like Chance the Gardener in pigtails, she literally can't comprehend evil or unkind motives. Unfortunately for her, she falls in with Anna's friend Eddie, who seems to be made entirely of bad motives. Though the plot follows Portia's relationship with Eddie, the novel's real tension lies between Portia and Anna, as the girl comes to grief against the shoals of Anna's glittering, urbane cynicism. But the book transcends the theme of innocence corrupted. As in Graham Greene's The Quiet American, Bowen inverts the formula to show the destructive power of innocence itself:
Innocence so constantly finds itself in a false position that inwardly innocent people learn to be disingenuous.... Incurable strangers to the world, they never cease to exact a heroic happiness. Their singleness, their ruthlessness, their one continuous wish makes them bound to be cruel, and to suffer cruelty. The innocent are so few that two of them seldom meet--and when they do, their victims lie strewn all around.
Bowen has a fine eye for such shadings of morality, but finer still is her understanding of the way humans bump up against the material world. Her writing on weather, both emotional and meteorological, compares with the best of Henry James: "One's first day by the sea, one's being feels salt, strong, resilient, and hollow--like a seaweed pod not giving under the heel."
Always a sensitive observer of the way we live, in her lesser books Bowen deals in mind games and then delivers trumped-up, bloody endings. In The Death of the Heart, she keeps all the action between her characters' ears, and comes up with one of the great midcentury psychological novels. --Claire Dederer
"A witty, lucid, and beautiful psychological novel.. . . By far her best book." --The New Yorker
"Bowen is a major writer. . . . She is what happened after Bloomsbury . . . the link that connects Virginia Woolf with Iris Murdoch and Muriel Spark." --Victoria Glendinning
"Bowen writes with both art and skillful artifice. . . . [The] quality of restraint, of the unsaid, gives her novel its curious tautness and intensity." --The New York Times
"[The Death of the Heart] manages to make a major statement about human character. . . . We finish the book with that sense fiction nowadays rarely communicates, of life's having been mysteriously enlarged." --The New Yorker
This is a fascinating read, for it prefigures many of the themes that pervade the author's subsequent books: planetary/ecological disaster, entropy, the devolution of human nature, a preoccupation with the roots of violence. For those unfamiliar with Ballard, it's a good introduction -- more accessible and less transgressive than some of his later work, yet full of the arresting surrealism and hallucinatory brilliance of language that are hallmarks of his writing.
J.G. Ballard was born in 1930 in Shanghai, where his father was a businessman. After internment in a civilian prison camp, he and his family returned to England in 1946. His 1984 bestseller Empire of the Sun won the Guardian Fiction Prize and the James Tait Black Memorial Prize, and was shortlisted for the Booker Prize. It was later filmed by Steven Spielberg. His controversial novel Crash was also made into an equally controversial film by David Cronenberg. His most recent novels include the Sunday Times bestsellers Cocaine Nights and Super-Cannes.
On October 30, 1938, Orson Welles terrified American radio listeners by describing a Martian invasion of Earth in a broadcast that became legendary. Forty years earlier, H. G. Wells had first penned the story: The War of the Worlds, a science-fiction classic that endures in our collective subconscious.
Deeply concerned with the welfare of contemporary society, Wells wrote his novel of interplanetary conflict in anticipation of war in Europe, and in it he predicted the technological savagery of twentieth century warfare. Playing expertly on worldwide security fears, The War of the Worlds grips readers with its conviction that invasion can happen anytime, anywhere—even in our own backyard.
Introduction to War of the Worlds
The Martians also reflect Wells himself. Just as the bicycle liberated Wells from the limitations of a weak body, the machines used by the Martians, who are weighed down because the pull of gravity is stronger on Earth than it is on Mars, enable them to move swiftly and attack without warning. The machine is an extension of a body, a kind of prosthetic device that supplies an ability the body lacks. The Martian sitting on top of a huge, three-legged fighting machine striding across Surrey toward London resembles nothing so much as Wells piloting his bicycle around the countryside. And the Martians, like Wells, tend to work alone. That is, while they are involved in a collective activity—the invasion and conquest of England, which is, by extension, the world—they work alone in their fighting machines or their aluminum manufacturing devices. Except for their time in the space capsule, they are rarely together.
Wells's first problem was to decide how to tell such a tale. He could use an external, omniscient narrator, but that would cut down on the immediacy of the action and make it seem much more like history. A single first-person narrator would be possible, but that person would have to travel long distances at almost superhuman speed in order to see everything involved in the Martian invasion. Wells opts for a device Robert Louis Stevenson (1850-1894) uses in Treasure Island (1883), having a first-person narrative become two first-person narratives by introducing a second character who tells us about what happened elsewhere. This is, admittedly, an awkward device because the two characters—brothers in The War of the Worlds—are not in communication with each other. Their separate stories become a single story because the primary narrator takes control of his brother's tale, treating him in the same way an omniscient narrator would treat a character.
The primary narrator, then, is both witness and author, a modification of the narrator of The Time Machine, who transcribes the story of the Time Traveller. The personality of this narrator is a vexing matter, and it is here Wells departs from traditional novelistic practice. Wells clearly had many options in this situation: He could make his nondescript, suburban science writer into a hero by having him either subdue the Martians or lay the foundations for an organized defense. That solution does not suit Wells's hidden intention, which is to warn those people capable of understanding that their world is rotten and will fall at the first blow from an outside force.
Wells does what in both human and novelistic terms makes the most sense: He makes his narrator a man of science, but a conventional thinker and not a man in the line of the Time Traveller. He is not a leader, not a warrior, but a man imbued with curiosity. He wants to understand the Martians, wants to observe their machines, and wants to survive to tell the tale. His psychological depth is slight: He loves his wife, detests the mad clergyman who almost manages to deliver him to the Martians, feels guilt about being responsible for the man's death, and has a nervous breakdown after learning that the Martians all die because of Earth's bacteria. The second central figure, the narrator's brother, is no more developed than the narrator. He is a "medical student, working for an imminent examination", but that is all we know of him. When, in the final chapter of book one, Wells feels he no longer needs the brother, he simply has him board a ship, witness a navy vessel ram two Martian fighting machines, and sail to Europe. We then return to the adventures of our primary narrator.
This sacrifice of character depth to action explains the success of The War of the Worlds. If Wells had transformed his narrator into a preachy precursor of his New Republicans, the reader would probably begin to cheer for the Martians. Instead, he uses both brothers as innocent points of view, reporters telling us what they saw. That they have emotions is merely incidental to their role as informants.
Wells relegates his ideas to the minor characters, carefully linking them to human imperfections so that the novel does not degenerate into sermon or essay. Probably the most interesting example of this is the artilleryman. In book one, chapter 11, the narrator, hiding inside his Woking house, sees a man trying to escape the Martians. He invites the man in and learns he is a soldier, "a driver in the artillery" whose unit has been wiped out by the Martians. The two separate in chapter 12, and we think we've seen the last of the artilleryman until suddenly in book two, chapter 7, he reappears, and now it is he who extends hospitality to the narrator.
Shevek, a brilliant physicist, decides to take action. he will seek answers, question the unquestionable, and attempt to tear down the walls of hatred that have isolated his planet of anarchists from the rest of the civilized universe. To do this dangerous task will mean giving up his family and possibly his life. Shevek must make the unprecedented journey to the utopian mother planet, Anarres, to challenge the complex structures of life and living, and ignite the fires of change.
Two 19th century stage illusionists, the aristocratic Rupert Angier and the working-class Alfred Borden, engage in a bitter and deadly feud; the effects are still being felt by their respective families a hundred years later. Working in the gaslight-and-velvet world of Victorian music halls, they prowl edgily in the background of each other's shadowy life, driven to the extremes by a deadly combination of obsessive secrecy and insatiable curiosity. At the heart of the row is an amazing illusion they both perform during their stage acts. The secret of the magic is simple, and the reader is in on it almost from the start, but to the antagonists the real mystery lies deeper. Both have something more to hide than the mere workings of a trick.
The Time Machine, perhaps Wells' best known work, tells the story of the first time traveler. In the distant future the human race has evolved into two beings: the gentle Eloi and their dreaded cousins, the Morlocks, masters of the underworld. Ralph Cosham's performance is possibly the best narration ever of this Science Fiction Classic.Five great stories featuring Wells at his best, delving into fantastic and strange worlds. Included are The Door in the Wall, a haunting classic capturing the pathos of lost youth; Aepyornis Island, the story of a prehistoric bird; The Purple Pileus, involves a life-altering fungus, The Truth About Pyecraft, the delightful tale of a man who must wear lead underwear, and The Strange Orchid, which tells of the macabre appetite of an exotic plant.
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'I am making up "To the Lighthouse" - the sea is to be heard all throughit'Inspired by the lost bliss of her childhood summers in Cornwall, Virginia Woolfproduced one of the masterworks of English literature in To the Lighthouse. Itconcerns the Ramsay family and their summer guests on the Isle of Skye beforeand after the First World War. As children play and adults paint, talk, muse andexplore, relationships shift and mutate. A captivating fusion of elegy,autobiography, socio-political critique and visionary thrust, it is the mostaccomplished of all Woolf's novels. On completing it, she thought she hadexorcised the ghosts of her imposing parents, but she had also brought form to abook every bit as vivid and intense as the work of Lily Briscoe, the indomitableartist at the centre of the novel.