Authors A - D:
Adams, Henry
Anderson, Sherwood
Austen, Jane
Beerbohm, Max
Bennett, Arnold
Bronte, Anne
Bronte, Charlotte
Bronte, Emily
Bulfinch, Thomas
Burckhardt, Jacob
Butler, Samuel
Cather, Willa
Chopin, Kate
Conrad, Joseph
Crane, Stephen
Darwin, Charles
Dickens, Charles
Doctorow, E.L.
Donne, John
Dostoevsky
Dreiser, Theodore
Du Bois, W.E.B.
Dumas, Alexandre

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'I cannot remember when I was not fascinated by Henry Adams,' said Gore Vidal. 'He was remarkably prescient about the coming horrors.'

His political ideals shaped by two presidential ancestors--great-grandfather John Adams and grandfather John Quincy Adams--Henry Adams was one of the most powerful and original minds to confront the American scene from the Civil War to the First World War.

Printed privately in 1907 and published to wide acclaim shortly after the author&'s death in 1918, The Education of Henry Adams is a brilliant, idiosyncratic blend of autobiography and history that charts the great transformation in American life during the so-called Gilded Age.

With an introduction by renowned historian Edmund Morris.

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'Here [is] a new order of short story,' said H. L. Mencken when Winesburg, Ohio was published in 1919. 'It is so vivid, so full of insight, so shiningly life-like and glowing, that the book is lifted into a category all its own.' Indeed, Sherwood Anderson's timeless cycle of loosely connected tales--in which a young reporter named George Willard probes the hopes, dreams, and fears of the solitary people in a small Midwestern town at the turn of the century--embraced a new frankness and realism that ushered American literature into the modern age. 'There are moments in American life to which Anderson gave not only the first but the final expression,' wrote Malcolm Cowley. 'Winesburg, Ohio is far from the pessimistic or morbidly sexual work it was once attacked for being. Instead it is a work of love, an attempt to break down the walls of loneliness, and, in its own fashion, a celebration of small-town life in the lost days of good will and innocence.'

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Elizabeth Bowen writes that Jane Austen 'brought the English novel to a point nearer perfection than it has reached since.' And in Emma Woodhouse, the marvelously willful heroine of Emma, she has created one of her best-loved characters.

Austen wrote about the world she inhabited, the English countryside, but was never constrained by her relatively narrow canvas. She endures for modern readers because of her wonderful comic irony and her acute observations of the nuances of social interaction, beautifully rendered in pellucid prose. As Emma Woodhouse attempts to orchestrate the romantic lives of those around her, Austen expertly reveals that she may not be as much in control as she would like to believe.

Emma was first published in 1816, the year before Jane Austen died. Austen herself thought that Emma was someone 'no one but myself will much like.' In spite of Austen's fears, the indomitable Emma Woodhouse continues to win the loyal hearts of each new generation of readers.

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Begun in 1811 at the height of Jane Austen's writing powers and published in 1814, Mansfield Park marks a conscious break from the tone of her first three novels, Northanger Abbey, Sense and Sensibility, and Pride and Prejudice, the last of which Austen came to see as 'rather too light.' Fanny Price is unlike any of Austen's previous heroines, a girl from a poor family brought up in a splendid country house and possessed of a vast reserve of moral fortitude and imperturbability. She is very different from Elizabeth Bennet, but is the product of the same inspired imagination.

Mansfield Park shows Austen as a mature novelist with an almost unparalleled ability to render character and an acute awareness of her world and how it was changing. Through the stories of Fanny Price, the Bertrams, and the Crawfords, she tackles the themes of faith and constancy and the threat that metropolitan manners could pose to a rural way of life. Mansfield Park is as amusing as any of Austen's novels, but, according to the critic Tony Tanner, it is also arguable that it is 'her most profound novel (indeed... it is one of the most profound novels of the nineteenth century).'

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Although Northanger Abbey was not published until after Jane Austen's death in 1817, it was one of her first novels. Northanger Abbey is, in part, Austen's response to Gothic novels, like Ann Radcliffe's The Mysteries of Udolpho, which were enjoying tremendous popularity in the late seventeeth and early eighteenth centuries, and to their devoted readers. It is a fine demonstration of the young novelist's powers of social observation and pristine style, which are the hallmarks of her work.

In opposition to the Gothic novelists' portentous prose and unlikely heroines, she presents a charmingly believable Catherine Morland. In one of Austen's delightful satirical twists, Catherine, recently introduced into society, is a voracious reader of Gothic stories. When she is invited to stay with the Tilneys in their seemingly foreboding abbey, she fears that it is the kind of terrible place described in the novels she devours.

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Called a 'perfect novel' by Harold Bloom, Persuasion was written while Jane Austen was in failing health. She died soon after its completion, and it was published in an edition with Northanger Abbey in 1818.

In the novel, Anne Elliot, the heroine Austen called 'almost too good for me,' has let herself be persuaded not to marry Frederick Wentworth, a fine and attractive man without means. Eight years later, Captain Wentworth returns from the Napoleonic Wars with a triumphant naval career behind him, a substantial fortune to his name, and an eagerness to wed. Austen explores the complexities of human relationships as they change over time. 'She is a prose Shakespeare,' Thomas Macaulay wrote of Austen in 1842. 'She has given us a multitude of characters, all, in a certain sense, commonplace. Yet they are all as perfectly discriminated from each other as if they were the most eccentric of human beings.'

Persuasion is the last work of one of the greatest of novelists, the end of a quiet career pursued in anonymity in rural England that produced novels which continue to give pleasure to millions of readers throughout the world.

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"It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife."

So begins Pride and Prejudice, Jane Austen's perfect comedy of manners—one of the most popular novels of all time—that features splendidly civilized sparring between the proud Mr. Darcy and the prejudiced Elizabeth Bennet as they play out their spirited courtship in a series of eighteenth-century drawing-room intrigues. "Pride and Prejudice seems as vital today as ever," writes Anna Quindlen in her introduction to this Modern Library edition. "It is a pure joy to read." Eudora Welty agrees: "The gaiety is unextinguished, the irony has kept its bite, the reasoning is still sweet, the sparkle undiminished. [It is] irresistible and as nearly flawless as any fiction could be."

This volume is the companion to the BBC television series, a lavish production aired on the Arts and Entertainment Network.

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Sense and Sensibility is one of the best loved of Jane Austen's novels, populated by great comic creations like Mrs. Jennings, the unscrupulous cad Willoughby, and guileless and artful women. As ever, Austen suffuses her work with great ironic observation and tremendous wit, producing a masterpiece of romantic entanglement that time and a very different set of mores cannot diminish.

Sense and Sensibility was the first of Jane Austen's novels to be published, coming out in 1811. It had a long gestation, beginning as Elinor and Marianne, an epistolary novel that Austen wrote in the 1790s. The novel centers on the sisters Elinor and Marianne Dashwood, who are forced to leave their home with their mother and younger sister, Margaret, and move in reduced circumstances to the West of England. Elinor, the sensible sister, and Marianne, the overimaginative romantic, must rely on a good marriage as a means of support. As their excellent schemes are intruded upon, Austen subtly explores the marriage game of her times, as both sense and sensibility affect the sisters' chances of happiness and comfort.

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'Zuleika Dobson is a highly accomplished and superbly written book whose spirit is farcical,' said E. M. Forster. 'It is a great work—the most consistent achievement of fantasy in our time . . . so funny and charming, so iridescent yet so profound.'

Originally published in 1911, Max Beerbohm's sparklingly wicked satire concerns the unlikely events that occur when a femme fatale briefly enters the supremely privileged, all-male domain of Judas College, Oxford. A conjurer by profession, Zuleika Dobson can only love a man who is impervious to her considerable charms: a circumstance that proves fatal, as any number of love-smitten suitors are driven to suicide by the damsel's rejection. Laced with memorable one-liners ('Death cancels all engagements,' utters the first casualty) and inspired throughout by Beerbohm's rococo imagination, this lyrical evocation of Edwardian undergraduate life at Oxford has, according to Forster, 'a beauty unattainable by serious literature.'

'I read Zuleika Dobson with pleasure,' recalled Bertrand Russell. 'It represents the Oxford that the two World Wars have destroyed with a charm that is not likely to be reproduced anywhere in the world for the next thousand years.'

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'[Arnold Bennett's] superb Old Wives' Tale, wandering from person to person and from scene to scene, is by far the finest ‘long novel' that has been written in English and in the English fashion, in this generation.'
—H. G. Wells


First published in 1908, The Old Wives' Tale affirms the integrity of ordinary lives as it tells the story of the Baines sisters—shy, retiring Constance and defiant, romantic Sophia—over the course of nearly half a century. Bennett traces the sisters' lives from childhood in their father's drapery shop in provincial Bursley, England, during the mid-Victorian era, through their married lives, to the modern industrial age, when they are reunited as old women. The setting moves from the Five Towns of Staffordshire to exotic and cosmopolitan Paris, while the action moves from the subdued domestic routine of the Baines household to the siege of Paris during the Franco-Prussian War.


'Like Wordsworth, [Arnold Bennett] has triumphed over the habitual; he has not let it disguise the particle of beauty from him.'—Rebecca West

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Jane Eyre is a wildly emotional romance, with a lonely heroine and a tormented Byronic hero, pathetic orphans, dark secrets, and a mad-woman in the attic. When it was published in 1847 it was a great popular success. The power of the writing, the masterly handling of narrative, and the boldly realistic style were much admired. But when Currer Bell, the pseudonymous author, was revealed to be Charlotte Bronte, a young woman from a bleak Yorkshire parsonage, critics were disapproving. Jane Eyre is full of erotic tension, passion, and irony. These were not qualities encouraged in Victorian women writers, and Jane Eyre was an 'immoral production' to more than one contemporary. For late-twentieth-century readers, however, the book is an astonishing paradigm of feminist writing. At its heart is the assertion that a woman has the right to be independent, and its insistence on that fact and on the equality of the sexes makes it a truly revolutionary work of art.

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Following the tremendous popular success of Jane Eyre, which earned her lifelong notoriety as a moral revolutionary, Charlotte Brontë vowed to write a sweeping social chronicle that focused on "something real and unromantic as Monday morning." Set in the industrializing England of the Napoleonic wars and Luddite revolts of 1811-12, Shirley (1849) is the story of two contrasting heroines. One is the shy Caroline Helstone, who is trapped in the oppressive atmosphere of a Yorkshire rectory and whose bare life symbolizes the plight of single women in the nineteenth century. The other is the vivacious Shirley Keeldar, who inherits a local estate and whose wealth liberates her from convention.

A work that combines social commentary with the more private preoccupations of Jane Eyre, Shirley demonstrates the full range of Brontë's literary talent. "Shirley is a revolutionary novel," wrote Brontë biographer Lyndall Gordon. "Shirley follows Jane Eyre as a new exemplar---but so much a forerunner of the feminist of the later twentieth century that it is hard to believe in her actual existence in 1811-12. She is a theoretic possibility: what a woman might be if she combined independence and means of her own with intellect. Charlotte Brontë imagined a new form of power, equal to that of men, in a confident young woman [whose] extraordinary freedom has accustomed her to think for herself....Shirley [is] Brontë's most feminist novel."

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The Professor was the first novel that Charlotte Brontë completed. Rejected by the publisher who took on the work of her sisters in 1846 -Anne's Agnes Grey and Emily's Wuthering Heights- it remained unpublished until 1857, two years after Charlotte Brontë's death. Like Villette (1853), The Professor is based on her experiences as a language student in Brussels in 1842. Told from the point of view of William Crimsworth, the only male narrator that she used, the work formulated a new aesthetic that questioned many of the presuppositions of Victorian society. Brontë's hero escapes from a humiliating clerkship in a Yorkshire mill to find work as a teacher in Belgium, where he falls in love with an impoverished student-teacher, who is perhaps the author's most realistic feminist heroine. The Professor endures today as both a harbinger of Brontë's later novels and a compelling read in its own right.
"The middle and latter portion of The Professor is as good as I can write," proclaimed Brontë. "It contains more pith, more substance, more reality, in my judgment, than much of Jane Eyre".

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"Villette! Villette! Have you read it?" exclaimed George Eliot when Charlotte Brontë's final novel appeared in 1853. "It is a still more wonderful book than Jane Eyre. There is something almost preternatural in its power."

Arguably Brontë's most refined and deeply felt work, Villette draws on her profound loneliness following the deaths of her three siblings. Lucy Snowe, the narrator of Villette, flees from an unhappy past in England to begin a new file as a teacher at a French boarding school in the great cosmopolitan capital of Villette. Soon Lucy's struggle for independence is overshadowed by both her freindship with a wordly English doctor and her feelings for an autocratic schoolmaster. Brontë' strikingly modern heroine must decide if there is any man in her society with whom she can live and still be free.

"Villette is an amazing book," observed novelist Susan Fromberg Schaeffer. "Written before psychoanalysis came into being, Villette is nevertheless a psychoanalytic work—a psychosexual study of its heroine, Lucy Snowe. Written before the philosophy of existentialism was formulated, the novel's view of the world can only be described as existential. . . . Today it is read and discussed more intensely than Charlotte Brontë's other novels, and many critics now beleive it to be a true master-piece, a work of genius that more than fulfilled the promise of Jane Eyre." Indeed, Virginia Woolf judged Villette to be Brontë's "finest novel."

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Wuthering Heights
Emily Brontë

Wuthering Heights, first published in 1847, the year before the author's death at the age of thirty, endures today as perhaps the most powerful and intensely original novel in the English language. "Only Emily Brontë," V.S. Pritchett said about the author and her contemporaries, "exposes her imagination to the dark spirit." And Virginia Woolf wrote, "It is as if she could tear up all that we know human beings by, and fill these unrecognisable transparencies with such a gust of life that they transcend reality. Hers, then, is the rarest of all powers. She could free life from its dependence on facts, with few touches indicate the spirit of a face so that it needs no body; by speaking of the moor make the wind blow and the thunder roar."

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For almost a century and a half, Bulfinch's Mythology has been the text by which the great tales of the gods and goddesses, Greek and Roman antiquity, Scandinavian, Celtic, and Oriental fables and myths, and the age of chivalry have been known. The forerunner of such interpreters as Edith Hamilton and Robert Graves, Thomas Bulfinch wanted to make these stories available to the general reader. A series of private notes to himself grew into one of the single most useful and concise guides to literature and mythology.
The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and The Legends of Charlemagne or The Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood.

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Jacob Burckhardt was born in 1818 in Basel, Switzerland. He studied history at the University of Berlin and taught art history and the Italian Renaissance in Berlin and Basel. His essay, as he called The Civilization of the Renaissance in Italy, was first published in 1860. Rich in its detailed account of the arts, fashions, manners, and thought of one of the most innovative eras in human history, this brilliant panorama of Renaissance life is also a thorough examination of the nature of civilization and of our place within it. Burckhardt's encyclopedic knowledge, his mastery of style, and his genius for synthesis make this one of the few classics of history and the prototype for cultural history. Burckhardt's The Age of Constantine the Great and Cicerone were published in his lifetime, and The History of Greek Civilization and Reflections on World History after his death in 1897.

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Samuel Butler was among the most wide-ranging of the accomplished crew of late Victorian writers to which be belonged -- a forceful controversialist in the debates that surrounded Darwin's theory of evolution, a painter who sometimes exhibited at the Royal Academy, an idiosyncratic critic and a gifted travel writer, and even, in his early years, a highly successful sheep farmer in New Zealand. He was also, as The Way of All Flesh, his deterministic tale of the havoc wrought by genetic inheritance, suggests, one of the great British masters of the novel of ideas.

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'The best thing I've done is My Ántonia,' recalled Willa Cather. 'I feel I've made a contribution to American letters with that book.' Set against the vast Nebraska prairie, Cather's elegiac novel features one of the most winning heroines in American fiction--Ántonia Shimerda--a young woman whose strength and passion epitomize the triumphant vitality of this country's pioneers.

'If, as is often said, every novelist is born to write one thing, then the one thing that Willa Cather was born to write was first fully realized in My Ántonia,' observed Pulitzer Prize-winning author Wallace Stegner. 'The prose is. . .flexible, evocative; the structure at once free and intricately articulated; the characters stretch into symbolic suggestiveness as naturally as trees cast shadows in the long light of a prairie evening; the theme is the fully exposed, complexly understood theme of the American orphan or exile, struggling to find a place between an Old World left behind and a New World not yet created. . . . No writer ever posed that essential aspect of the American experience more warmly, with more nostalgic lyricism, or with a surer understanding of what it means.'

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The Awakening shocked turn-of-the-century readers and reviewers with its treatment of sex and suicide. In a departure from literary convention, Kate Chopin failed to condemn her heroine's desire for an affair with the son of a Louisiana resort owner, whom she meets on vacation. The power of sensuality, the delusion of ecstatic love, and the solitude that accompanies the trappings of middle- and upper-class convention are the themes of this now-classic novel. The book was influenced by French writers ranging from Flaubert to Maupassant, and can be seen as a precursor of the impressionistic, mood-driven novels of Virginia Woolf and Djuna Barnes. Variously called 'vulgar,' 'unhealthily introspective,' and 'morbid,' the book was neglected for several decades, not least because it was written by a 'regional' woman writer. This edition also includes selected stories from Kate Chopin's Bayou Folk and A Night in Acadie, and an introduction and notes by Nina Baym.

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'Heart of Darkness,' which appeared at the very beginning of our century, 'was a Cassandra cry announcing the end of Victorian Europe, on the verge of transforming itself into the Europe of violence,' wrote the critic Czeslaw Milosz.

Originally published in 1902, Heart of Darkness remains one of this century's most enduring—and harrowing—works of fiction. Written several years after Conrad's grueling sojourn in the Belgian Congo, the novel tells the story of Marlow, a seaman who undertakes his own journey into the African jungle to find the tormented white trader Kurtz. Rich in irony and spellbinding prose, Heart of Darkness is a complex meditation on colonialism, evil, and the thin line between civilization and barbarity. This edition contains selections from Conrad's Congo Diary of 1890—the first notes, in effect, for the novel which was composed at the end of that decade.

Virginia Woolf wrote of Conrad, 'His books are full of moments of vision. They light up a whole character in a flash. . . . He could not write badly, one feels, to save his life.'

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Nostromo

Originally published in 1904, Nostromo is considered by many to be Conrad's supreme achievement. Set in the imaginary South American republic of Costaguana, the novel reveals the effects of unbridled greed and imperialist interests on many different lives. Although each character's potential for good is ultimately corrupted, Nostromo underscores Conrad's belief in fidelity, moral discipline, and the need for human communion. The author himself described the book as 'an intense creative effort on what I suppose will remain my largest canvas.'

'Conrad endeavored to create a great, massive, multiphase symbol that would render his total vision of the world, his sense of individual destiny, his sense of man's place in nature, his sense of history and society,' observed Robert Penn Warren. 'Nostromo is the most strikingly modern of Conrad's novels,' said V. S. Pritchett. 'It is pervaded by a profound, even morbid sense of insecurity which is the very spirit of our age.'

This volume is the companion to the acclaimed multipart series aired on Masterpiece Theatre.

Lord Jim

Lord Jim is a classic story of one man's tragic failure and eventual redemption, told under the circumstances of high adventure at the margins of the known world which made Conrad's work so immediately popular. But it is also the book in which its author, through a brilliant adaptation of his stylistic apparatus to his obsessive moral, psychological and political concerns, laid the groundwork for the modern novel as we know it.

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Originally published in 1904, Nostromo is considered by many to be Conrad's supreme achievement. Set in the imaginary South American republic of Costaguana, the novel reveals the effects of unbridled greed and imperialist interests on many different lives. Although each character's potential for good is ultimately corrupted, Nostromo underscores Conrad's belief in fidelity, moral discipline, and the need for human communion. The author himself described the book as 'an intense creative effort on what I suppose will remain my largest canvas.'

'Conrad endeavored to create a great, massive, multiphase symbol that would render his total vision of the world, his sense of individual destiny, his sense of man's place in nature, his sense of history and society,' observed Robert Penn Warren. 'Nostromo is the most strikingly modern of Conrad's novels,' said V. S. Pritchett. 'It is pervaded by a profound, even morbid sense of insecurity which is the very spirit of our age.'

This volume is the companion to the acclaimed multipart series aired on Masterpiece Theatre.

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The Secret Agent is the unsurpassed ancestor of a long series of twentieth-century novels and films which explore the confused motives that lie at the heart of political terrorism. In its use of powerful psychological insight to intensify narrative suspense, it set the terms by which subsequent works in its genre were created. Conrad was the first novelist to discover the strange in-between territory of the political exile, and his genius was such that we still have no truer map of that region's moral terrain than his story of a terrorist plot and its tragic consequences for the guilty and innocent alike.

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The Red Badge of Courage was published in 1895, when its author, an impoverished writer living a bohemian life in New York, was only twenty-three. It immediately became a bestseller, and Stephen Crane became famous. Crane set out to create 'a psychological portrayal of fear.' Henry Fleming, a Union Army volunteer in the Civil War, thinks 'that perhaps in a battle he might run. . . . As far as war was concerned he knew nothing of himself.' And he does run in his first battle, full of fear and then remorse. He encounters a grotesquely rotting corpse propped against a tree, and a column of wounded men, one of whom is a friend who dies horribly in front of him. Fleming receives his own 'red badge' when a fellow soldier hits him in the head with a gun. 'The idea of falling like heroes on ceremonial battlefields,' Ford Madox Ford remarked later, 'was gone forever.' Shelby Foote, author of The Civil War, has provided an introduction to this Modern Library edition.

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Perhaps the most readable and accessible of the great works of the scientific imagination, The Origin of Species sold out on the day it was published in 1859. Theologians quickly labeled Charles Darwin the most dangerous man in England, and, as the Saturday Review noted, the uproar over the book quickly 'passed beyond the bounds of the study and lecture-room into the drawing-room and the public street.' Yet after reading it, Darwin's friend and colleague T. H. Huxley had a different reaction: 'How extremely stupid not to have thought of that.' Based largely on Darwin's experience as a naturalist while on a five-year voyage aboard the H.M.S. Beagle, The Origin of Species set forth a theory of evolution and natural selection that challenged contemporary beliefs about divine providence and the immutability of species. A landmark contribution to philosophical and scientific thought, the book has fresh application today for its pioneering views on the ecology of plants and animals. This edition also includes an introductory historical sketch and a glossary Darwin later added to the original text.

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Moll Flanders is, according to Virginia Woolf, one of the "few English novels which we can call indisputably great." Written by Defoe in 1722 under a pseudonym so his readers would think it an actual journal of the ribald fortunes and misfortunes of a woman in eighteenth-century London, the book remains a picaresque novel of astonishing vitality. From her birth in Newgate Prison to her ascent to a position of wealth and stature, Moll Flanders demonstrates both a mercantile spirit and an indomitable will. This vivid saga of an irresistible and notorious heroine -her high misdemeanors and delinquencies, her varied careers as a prostitute, a charming and faithful wife, a thief, and a convict- endures today as one of the liveliest, most candid records of a woman's progress through the hypocritical labyrinth of society ever recorded. "Defoe seems to have taken his characters so deeply into his mind that he lived them without exactly knowing how," wrote Virginia Woolf. "Like all unconscious artists, he leaves more gold in his work than his own generation was able to bring to the surface."

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An immediate bestseller when it was first published in December 1843, A Christmas Carol has endured ever since as a perennial Yuletide favorite. Charles Dickens's beloved tale about the miserly Ebenezer Scrooge--who comes to know the meaning of kindness, charity, and goodwill through a haunting Christmas Eve encounter with four ghosts--is a heartwarming celebration of the spirit of Christmas. 'Whether the Christmas visions would or would not convert Scrooge, they convert us,' wrote G. K. Chesterton. 'The story sings from end to end like a happy man going home.'

The Modern Library edition also presents two more of Dickens's popular Christmas stories, The Chimes and The Haunted Man, Dickens's last Christmas tale, which features one of his greatest comic families, the Tetterbys. With an introduction by John Irving.

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American Notes is the fascinating travel journal of one of nineteenth-century America's most celebrated visitors: Charles Dickens. A lively chronicle of his five-month trip around the United States in 1842, the book records the author's adventures journeying by steamboat and stagecoach, as well as his impressions of everything from schools and prisons to table manners and slavery. More than a travelogue, it is also a serious discourse on the character and institutions of a young democracy. Dickens distrusted much of what he saw, and he wrote so frankly that the New York Herald dismissed the work as 'the essence of balderdash.' In retrospect, American Notes can be read as the account of a traumatic excursion from which Dickens emerged, both emotionally and politically, a changed man. With a new introduction by Christopher Hitchens.

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'Like so many fond parents I have in my heart of hearts a favourite child,' wrote Charles Dickens. 'And his name is David Copperfield.'

Of all of Dickens's novels, David Copperfield most closely reflects the events of his own life. The story of an abandoned waif who discovers life and love in an indifferent world, this classic tale of childhood is populated with a cast of eccentrics, innocents, and villains who number among the author's greatest creations.

'David Copperfield is filled with characters of the most astonishing variety, vividness, and originality,' noted Somerset Maugham. 'They are not realistic and yet they abound with life. There never were such people as the Micawbers, Pegotty and Barkis, Traddles, Betsey Trotwood and Mr. Dick, Uriah Heep and his mother. They are fantastic inventions of Dickens's exultant imagination, but they have so much vigor, they are so consistent, they are presented with so much conviction, that you believe in them. They are extravagant, but not unreal, and when you have once to know them you can never quite forget them.' T. S. Eliot agreed: 'Dickens excelled in character; in the creation of characters of greater intensity than human beings.' And Virginia Woolf concluded: 'In David Copperfield, though characters swarm and life flows into every creek and cranny, some common feelings--youth, gaiety, hope--envelops the tumult, brings the scattered parts together, and invests the most perfect of all the Dickens novels with an atmosphere of beauty.'

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Our Mutual Friend is a satiric masterpiece about money. The last novel Dickens completed, and perhaps his most angry, it sounds all the great themes of his later work: the innocence and venality of the aspiring poor, the hollow pretensions of the nouveau riche, the unfailing power of wealth to corrupt everyone it touches. Among those caught up in the ruthless forces of change in Dickens's London are the archetypal innocent Noddy Boffin, who 'inherits' a dustheap where the trash of the rich is thrown; Silas Wegg, a grotesque, one-legged man with unlimited fantasies of grandeur and power; Mr. Veneering, Member of Parliament, whose house, furnishings, servants, carriage, and baby are all 'bran-new'; and Alfred and Sophronia Lammle, who marry one another because each wrongly believes the other is rich. The social themes of Our Mutual Friend--having to do with the treatment of the poor, education, representative government, even the inheritance laws--are informed and brought into coherence by the underlying presence of the Thames, signifying the perpetual flow of life into death, and acting as agent of retribution and regeneration too, as a kind of river god in fact, in a novel in which no other god is very present.

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Published in 1975, Ragtime changed our very concept of what a novel could be. An extraordinary tapestry, Ragtime captures the spirit of America in the era between the turn of the century and the First World War. The story opens in 1906 in New Rochelle, New York, at the home of an affluent American family. One lazy Sunday afternoon, the famous escape artist Harry Houdini swerves his car into a telephone pole outside their house. And almost magically, the line between fantasy and historical fact, between real and imaginary characters disappears. Henry Ford, Emma Goldman, J. P. Morgan, Evelyn Nesbit, Sigmund Freud, and Emiliano Zapata slip in and out of the tale, crossing paths with Doctorow's imagined family and other fictional characters--namely one Coalhouse Walker, Jr., a ragtime musician from Harlem whose insistence on a point of justice drives him to revolutionary violence. 'A unique and beautiful work of art,' wrote Stanley Kauffmann in the Saturday Review. 'Doctorow has added a grace to our history.'

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This Modern Library edition contains all of John Donne’s great metaphysical love poetry. Here are such well-known songs and sonnets as "A Valediction: Forbidding Mourning," "The Extasie," and "A Nocturnall Upon S. Lucies Day," along with the love elegies "Jealosie," "His Parting From Her," and "To His Mistris Going to Bed." Presented as well are Donne’s satires, epigrams, verse letters, and holy sonnets, along with his most ambitious and important poems, the Anniversaries. In addition, there is a generous sampling of Donne’s prose, including many of his private letters; Ignatius His Conclave, a satiric onslaught on the Jesuits; excerpts from Biathanatos, his celebrated defense of suicide; and his most famous sermons, concluding with the final "Death’s Duell." "We have only to read [Donne]," wrote Virginia Woolf, "to submit to the sound of that passionate and penetrating voice, and his figure rises again across the waste of the years more erect, more imperious, more inscrutable than any of his time."

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"Crime and Punishment has upon most readers an impact as immediate and obvious and full as the news of murder next door," wrote critic R. P. Blackmur. "One almost participates in the crime.., it is the murder that only by some saving accident we did not ourselves commit." In the whole literature of the ambivalent relationship between man and the crimes of which he is capable, Crime and Punishment stands supreme for its insight, compassion, and psychological fidelity. The story of the murder committed by Raskolnikov and his guilt and atonement is without doubt the most gripping and illuminating account ever written of a crime of repugnance and despair and the consequences that inevitably arise from it. "Dostoevsky's novels... leap out of their historical situation and confront us as if they had not yet spoken their final word," said award-winning Russian translator Richard Pevear. And The Washington Post Book World deemed Dostoevsky "the most compulsively readable of novelists we continue to regard as great."

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'American writing, before and after Dreiser's time, differed almost as much as biology before and after Darwin,' said H. L. Mencken. Sister Carrie, Dreiser's great first novel, transformed the conventional 'fallen woman' story into a bold and truly innovative piece of fiction when it appeared in 1900. Naïve young Caroline Meeber, a small-town girl seduced by the lure of the modern city, becomes the mistress of a traveling salesman and then of a saloon manager, who elopes with her to New York. Both its subject matter and Dreiser's unsparing, nonjudgmental approach made Sister Carrie a controversial book in its time, and the work retains the power to shock readers today.

'Sister Carrie came to housebound and airless America like a great free Western wind, and to our stuffy domesticity gave us the first fresh air since Mark Twain and Whitman,' noted Sinclair Lewis. 'Dreiser enlarged, willy-nilly, by a kind of historical accident if you will, the range of American literature,' observed Robert Penn Warren. '[Sister Carrie] is a vivid and absorbing work of art.'

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"The problem of the twentieth century is the problem of the color line." Thus speaks W.E.B. Du Bois in The Souls Of Black Folk, one of the most prophetic and influental works in American literature. In this eloquent collection of essays, first published in 1903, Du Bois dares as no one has before to describe the magnitude of American racism and demand an end to it. He draws on his own life for illustration, from his early experiences teaching in the hills of Tennessee to the death of his infant son and his historic break with the conciliatory position of Booker T. Washington.

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'We read The Three Musketeers to experience a sense of romance and for the sheer excitement of the story,' reflected Clifton Fadiman. 'In these violent pages all is action, intrigue, suspense, surprise--an almost endless chain of duels, murders, love affairs, unmaskings, ambushes, hairbreadth escapes, wild rides. It is all impossible and it is all magnificent.'

First published in 1844, Alexandre Dumas's swashbuckling epic chronicles the adventures of D'Artagnan, a gallant young nobleman who journeys to Paris in 1625 hoping to join the ranks of musketeers guarding Louis XIII. He soon finds himself fighting alongside three heroic comrades--Athos, Porthos, and Aramis--who seek to uphold the honor of the king by foiling the wicked plots of Cardinal Richelieu and the beautiful spy 'Milady.'

'Dumas will be read a hundred, nay, three hundred years on,' wrote John Galsworthy. 'His greatest creation is undoubtedly D'Artagnan, type at once of the fighting adventurer and of the trusty servant, whose wily blade is ever at the back of those whose hearts have neither his magnanimity nor his courage. Few, if any, characters in fiction inspire one with such belief in their individual existences. . . . To one who made D'Artagnan all shall be forgiven.' Clifton Fadiman agreed: 'Dumas enjoyed writing his stories. . . . The pleasure he must have felt in creating D'Artagnan'os troubles and triumphs flashes out of these pages. . . . Dumas rampaged through the history of France, inventing, changing, distorting--doing whatever was needed to produce a tale to hold the reader breathless.'

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