Authors E-P:
Eliot, George
Emerson, Ralph Waldo
Forster, E.M.
Gibbon, Edward
Grant, Ulysses S.
Hardy, Thomas
Hugo, Victor
James, Henry
James, William
Jewett, Sarah Orne
Joyce, James
Keats, John
Lawrence, D.H.
Lewis, Sinclair
London, Jack
Malory, Sir Thomas
Maugham, W. Somerset
Melville, Herman
Parkman, Francis
Plutarch
Prescott, William H.
Proust, Marcel

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Middlemarch is George Eliot's masterpiece, a Victorian novel on the grandest scale. Originally published in serial form in Blackwood's Magazine in 1871-1872, it was at once a critical and popular success. 'No Victorian novel approaches Middlemarch in its width of reference, its intellectual power, or the imperturbable spaciousness of its narrative,' V. S. Pritchett noted. Set in a fictional Midlands town, the novel chronicles nineteenth-century English provincial life through its precisely delineated characters, weaving many stories into one richly textured tapestry. Eliot renders her vast cast with cool irony and intelligence: Dorothea Brooke, the 'latter-day St. Theresa,' intense, impassioned, and frustrated; Tertius Lydgate, the idealistic young doctor who comes to Middlemarch fired with the desire to spread the new science of medicine; Fred Vincy and his spoiled, pretentious sister Rosamond; Casaubon, Dorothea's elderly husband, for whom she feels at first awe and finally pity; and the many lesser characters who people this epic in a small landscape. Unsurpassed in its depiction of human nature, Middlemarch is one of the great works of world literature.

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'Standing on the bare ground--my head bathed by the blithe air and uplifted into infinite space--all mean egotism vanishes,' Emerson wrote in Nature, his statement of the principles of transcendentalism. 'I become a transparent eyeball.' Nature, published in 1836 when Emerson was thirty-three, is collected here with his book of observations on the English people; a famous sermon against administering communion in church; a sketch of his step-grandfather; the eulogy he delivered at the funeral of his Concord friend and neighbor Henry David Thoreau; twenty-three poems; and addresses, lectures, and essays on such subjects as slavery, self-reliance, and organized Christianity's obsession with the person of Jesus. Emerson called transcendentalism another word for idealism--'hypothesis to account for nature by other principles than those of carpentry and chemistry.' Considered intensely radical at a time when materialism and a rigid form of Christianity were ascendant, he urged Americans to 'enjoy an original relation to the universe.' These selections span Emerson's career as author and traveling lecturer, and chart his evolving thought: the concepts of the 'over-soul,' individualism without egotism, and antimaterialism; a belief in intuition, independence, and 'the splendid labyrinth of one's own perceptions.'

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'To me,' D. H. Lawerence once wrote to E. M. Forster, 'you are the last Englishman.' Indeed, Forster's novels offer contemporary readers clear, vibrant portraits of life in Edwardian England. Published in 1908 to both critical and popular acclaim, A Room with a View is a whimsical comedy of manners that owes more to Jane Austen that perhaps any other of his works. The central character is a muddled young girl named Lucy Honeychurch, who runs away from the man who stirs her emotions, remaining engaged to a rich snob. Forster considered it his 'nicest' novel, and today it remains probably his most well liked. Its moral is utterly simple. Throw away your etiquette book and listen to your heart. But it was Forster's next book, Howards End, a story about who would inhabit a charming old country house (and who, in a larger sense, would inherit England), that earned him recognition as a major writer. Centered around the conflict between the wealthy, materialistic Wilcox family and the cultured, idealistic Schlegel sisters-and informed by Forester's famous dictum 'Only connect'-it is full of tenderness towards favorite characters. 'Howards End is a classic English novel . . . superb and wholly cherishable . . . one that admirers have no trouble reading over and over again,' said Alfred Kazin.

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"It was at Rome, on the 15th of October 1764, as I sat musing amid the ruins of the capitol, while the barefooted friars were singing vespers in the temple of Jupiter, that the idea of writing the decline and fall of the city first started to my mind," recorded Edward Gibbon with characteristic exactitude. Over a period of some twenty years, the luminous eighteenth-century historian—a precise, dapper, idiosyncratic little gentleman famous for rapping his snuff-box—devoted his considerable genius to writing an epic chronicle of the entire Roman Empire’s decline. His single flash of inspiration produced what is arguably the greatest historical work in any language—and surely the most magnificent narrative history ever written in English. "Gibbon is one of those few who hold as high a place in the history of literature as in the roll of great historians," noted Professor J.B. Bury, his most celebrated editor.

This three-volume Modern Library edition of The Decline and Fall of the Roman Empire—with Gibbon’s notes—is edited with a general introduction and index by Bury, along with an introduction by Pulitzer Prize-winning historian Daniel J. Boorstin. The Volumes are illstrated with reproductions of etchings by Gian Battista Piranesi.

The first volume contains chapters one through twenty-six of The Decline and fall of the Roman Empire.

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"I devoured Gibbon," wrote Winston Churchill. "I rode triumphantly through it from end to end and enjoyed it all." Gibbon's magnum opus -- which encompasses thirteen hundred years of history, swinging across Europe, North Africa, and Asia -- remains one of the greatest works of history ever written.

"Gibbon is a kind of bridge that connects the ancient with the modern ages," noted Thomas Carlyle. "And how gorgeously does it swing across the gloomy and tumultuous chasm of these barbarous centuries." Indeed, Gibbon, the supreme historian of the Enlightenment--the illustrious scholar who envisioned history as a branch of literature--seemed almost predestined to write his monumental account of the Roman Empire's terrible self-destruction. "I have described the triumph of barbarism and religion," wrote the author in the famous epigram that summed up his towering achievement in The Decline and Fall of the Roman Empire.

"Gibbon is not merely a master of the pageant and the story; he is also the critic and the historian of the mind," said Virginia Woolf. "Without his satire, his irreverence, his mixture of sedateness and slyness, of majesty and mobility, and above all that belief in reason which pervades the whole book and gives it unity, an implicit if unspoken message, the Decline and Fall would be the work of another man....We seem as we read him raised above the tumult and the chaos into a clear and rational air."

The second volume contains chapters twenty-seven through forty-eight of The Decline and Fall of the Roman Empire.

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"I set out upon Gibbon's Decline and Fall of the Roman Empire [and] was immediately dominated by both the story and the style," recalled Winston Churchill. "I devoured Gibbon. I rode triumphantly through it from end to end and enjoyed it all....I was not even estranged by his naughty footnotes." In the two centuries since its completion, Gibbon's magnum opus--which encompasses some thirteen hundred years as it swings across Europe, North Africa, and Asia--has refused to go the way of many "classics" and grow musty on the shelves. "Gibbon is a landmark and a signpost--a landmark of human achievement: and a signpost because the social convulsions of the Roman Empire as described by him sometimes prefigure and indicate convulsions which shake the whole world today," wrote E.M. Forster. Never far below the surface of the magnificent narrative lies the author's wit and sweeping irony, exemplified by Gibbon's famous definition of history as "little more than the register of the crimes, follies and misfortunes of mankind."

The third volume contains chapters forty-nine through seventy-one of The Decline and Fall of the Roman Empire.

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Mark Twain had known many of the great men of the Civil War and the Gilded Age, and esteemed none more highly than Ulysses S. Grant, who was modest, sensitive, generous, honest, and superlatively intelligent. Grant's courage, both moral and physical, was a matter of record. His genius as a general assured his immortality. In 1881, Twain urged Grant to write his memoirs.

No one is interested in me, Grant replied. Out of the army, out of office, and out of favor--that was his life now. He reminded Twain that the Military History of Ulysses S. Grant, written by his wartime assistant, Adam Badeau, had sold poorly. And John Russell Young's book, Around the World with General Grant, published in 1879, had been a complete flop.

Broke and sick--he began suffering agonizingly painful throat cancer in 1884-- Grant agreed to write four articles for the Century Magazine on some of his Civil War battles, and Century offered to publish his memoirs if only he'd write them. Twain was on a lecture tour when he heard that Grant might be willing to write a book and hurried back to New York to tell Grant that he could arrange for publication of the book by a small firm that he controlled. Grant accepted his offer because Twain had been the first person to suggest he write his memoirs.

The inflexible will and powerful mind that helped make Grant a great general were stronger than the torturing pain, the sleepless nights, the terrors of death. Yet there was no sense of this heroic struggle in the narrative he produced with stubby pencils or by dictating to a secretary. The book was like the man himself--often humorous, frequently charming, always lucid, sometimes poignant, generous to his enemies, loyal to his friends. Twain was astonished when he discovered that Grant had produced a considerably longer book than he had contracted to write, but Grant had always tried to give more than was expected of him. He did so even now.

Grant finished his book in July 1885. The Memoirs were a triumph. The narrative has the directness and limpidity of the purest English prose as it was first crafted by William Tyndell and then spread throughout the English-speaking world in the King James version of the Bible.

Grant had reached deep into himself and into the world history of the Anglo-American people to grasp the core of its culture, the English language. He trusted in that narrative style that achieves its effects by never straining for effect, assembled it into vivid pictures sufficiently understated to allow an intelligent reader's imagination room to expand, and shaped a literary architecture with a born artist's eye.

His recollections were inevitably partial and selective. As with all memoirs, Grant's was at its best as a revelation of the way he remembered the events of his tumultuous life and the feelings they evoked in him as death drew near. Its truth was less in the details of what he recalled as in the story he had to tell, of justice triumphant over a great evil.

On July 23, 1885, several days after correcting the galley proofs of his book, Grant died in a summer cottage on the slopes of Mount McGregor, New York, surrounded by friends and family. The memoirs, published a few months later, have never been out of print.

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Set in his fictional Wessex countryside in southwest England, Far from the Madding Crowd was Thomas Hardy's breakthrough work. Though it was first published anonymously in 1874, the quick and tremendous success of Far from the Madding Crowd persuaded Hardy to give up his first profession, architecture, to concentrate on writing fiction. The story of the ill-fated passions of the beautiful Bathsheba Everdene and her three suitors offers a spectacle of country life brimming with an energy and charm not customarily associated with Hardy. ('When Farmer Oak smiled,' the novel begins, 'the corners of his mouth spread till they were within an unimportant distance of his ears. . . .')

The text is based on the authoritative Wessex Edition of 1912, revised and corrected by Hardy himself.

This edition is the companion volume to the Mobil Masterpiece Theatre WGBH television presentation broadcast on PBS. It stars Paloma Baeza as Bathsheba Everdene, Nathaniel Parker as Gabriel Oak, Nigel Terry as Mr. Boldwood, and Jonathan Firth as Frank Troy. Adapted by Philomena McDonagh, Far from the Madding Crowd is directed by Nick Renton.

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Etched against the background of a dying rural society, Tess of the d'Urbervilles was Thomas Hardy's 'bestseller,' and Tess Durbeyfield remains his most striking and tragic heroine. Of all the characters he created, she meant the most to him. Hopelessly torn between two men--Alec d'Urberville, a wealthy, dissolute young man who seduces her in a lonely wood, and Angel Clare, her provincial, moralistic, and unforgiving husband--Tess escapes from her vise of passion through a horrible, desperate act.

'Like the greatest characters in literature, Tess lives beyond the final pages of the book as a permanent citizen of the imagination,' said Irving Howe. 'In Tess he stakes everything on his sensuous apprehension of a young woman's life, a girl who is at once a simple milkmaid and an archetype of feminine strength. . . . Tess is that rare creature in literature: goodness made interesting.'

Now Tess of the d'Urbervilles has been brought to television in a magnificent new co-production from A&E Network and London Weekend Television. Justine Waddell (Anna Karenina) stars as the tragic heroine, Tess; Oliver Milburn (Chandler & Co.) is Angel Clare; and Jason Flemyng is Alec d'Urberville. The cast also includes John McEnery (Black Beauty) as Jack Durbeyfield and Lesley Dunlop (The Elephant Man) as Joan Durbeyfield. Tess of the d'Urbervilles is directed by Ian Sharp and produced by Sarah Wilson, with a screenplay by Ted Whitehead; it was filmed in Hardy country, the beautiful English countryside in Dorset where Thomas Hardy set his novels.

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The Return of the Native combines all of the great themes of Thomas Hardy's works. Wonderful descriptions of the English countryside underscore a rural tale of doomed love, passion, and melancholy. The novel opens with the famous portrait of Egdon Heath, the wild, haunted Wessex moor that D. H. Lawrence called 'the real stuff of tragedy' of the book. The heath's changing face mirrors the fortunes of the farmers, innkeepers, sons, mothers, and lovers that populate the novel. The 'native' is Clym Yeobright, coming home from a successful, cosmopolitan life in Paris, a place far removed from the unforgiving landscape of Egdon Heath. He finds that his cousin, Thomasin, is about to marry Damon Wildeve, a rakish and confused man with a lover, Eustacia Vye, whom he cannot forget. Eustacia is willful, ambitious, and dangerously alluring. Hardy describes her as 'the raw material of a divinity. . . . She had Pagan eyes, full of nocturnal mysteries.' As the characters are drawn together, they scheme and maneuver, often under the eye of Diggory Venn, the reddleman whose relentless virtue must find its reward at the violent climax of the novel.

The Return of the Native was first published in Belgravia magazine in twelve parts in 1878 and revised by Hardy in 1895 and in 1912, when he produced the definitive Wessex Edition of all of his novels. Described on publication by Harper's magazine as 'delightful reading,' it has retained its power to move and absorb the reader and stands with The Mayor of Casterbridge and Jude the Obscure among the finest of Hardy's works.

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Les Misérables is the great epic masterpiece of the mid-nineteenth century. Begun in 1845, the year Louis Philippe conferred a peerage and a lifetime seat in the Senate upon Victor Hugo, it was completed when the author was living in exile in the Channel Islands. Les Misérables is a product as well as a document of the political, social, and religious upheaval that followed the Napoleonic Wars and Europe's great democratic revolutions. The story is centered on Jean Valjean, a peasant who enters the novel a hardened criminal after nineteen years spent in prison for stealing a loaf of bread for the starving children of his sister. The path of Valjean's last twenty-five years, leading from the French provinces to the battlefield of Waterloo and the ramparts of Paris during the Uprising of 1832, introduces us to secret societies of revolutionaries and the vast world of the French lower classes. Jean Valjean's flight from the police agent Javert--the prototype of over a hundred years of fictional detectives--culminates in one of the most famous scenes in all literature, the chase through the sewers of Paris. Les Misérables sold out its large first printing in twenty-four hours and has remained enormously popular. This edition is the classic English translation of Hugo's friend Charles Wilbour, which appeared the same year the novel was published in France.

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Neither Edith Wharton nor E. M. Forster admired it, but Louis Auchincloss calls The Wings of the Dove 'perhaps the greatest of Henry James's novels.' Published in 1902, the novel represented something of a comeback for James, whose only 'bestseller,' Daisy Miller, had appeared more than two decades earlier. Set amid the splendor of fashionable London drawing rooms and gilded Venetian palazzos, the story concerns a pair of lovers who conspire to obtain the fortune of a doomed American heiress. But the naïve young woman becomes both their victim and their redeemer in James's meticulously designed drama of treachery and self-betrayal. 'It seems to me that I know the characters even more intimately than I know the characters in the earlier novels of his Balzac period,' said Louis Auchincloss. 'The Wings of the Dove represents the pinnacle of James's prose.' This version is the definitive New York Edition, which appeared in 1907, together with the author's Preface.

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'Washington Square is perhaps the only novel in which a man has successfully invaded the feminine field and produced work comparable to Jane Austen's,' said Graham Greene.

Inspired by a story Henry James heard at a dinner party, Washington Square tells how the rakish but idle Morris Townsend tries to win the heart of heiress Catherine Sloper against the objections of her father. Precise and understated, the book endures as a matchless social study of New York in the mid-nineteenth century.

'Washington Square has long been beloved by almost all readers,' noted Louis Auchincloss. 'The chief beauty of the novel lies in its expression--by background, characterization, and dialogue--of its mild heroine's mood of long-suffering patience. Everything is ordered, polite, still: the charming old square in the pre-brownstone city, the small, innocent, decorous social gatherings, the formal good manners, the quaint reasonableness of the dialogues. . . . James was the poet of cities: New York in Washington Square.' Clifton Fadiman agreed: 'It has extraordinary charm, deriving from an almost Mozartian combination of sweetness and depth.'

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The Varieties of Religious Experience is certainly the most notable of all books in the field of the psychology of religion and probably destined to be the most influential [one] written on religion in the twentieth century' said Walter Houston Clark in Psychology Today. The book was an immediate bestseller upon its publication in June 1902. Reflecting the pluralistic views of psychologist-turned-philosopher William James, it posits that individual religious experiences, rather than the tenets of organized religions, form the backbone of religious life. James's discussion of conversion, repentance, mysticism, and hopes of reward and fears of punishment in the hereafter--as well as his observations on the religious experiences of such diverse thinkers as Voltaire, Whitman, Emerson, Luther, Tolstoy, and others--all support his thesis. 'James' characteristic humor, his ability to put down the pretentious and to be unpretentious, and his willingness to take some risks in his choices of anecdotal data or provocative theories are all apparent in the book,' noted Professor Martin E. Marry. 'A reader will come away with more reasons to raise new questions than to feel that old ones have been resolved.'

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Sarah Orne Jewett's The Country of the Pointed Firs was published in 1896, and it quickly garnered a reputation for its truthfulness and the quality of its writing. Rudyard Kipling described it as 'immense--it is the very life,' and Henry James praised it for being 'absolutely true--not a word overdone--such elegance and exactness.'

The Country of the Pointed Firs, is a concisely written and beautifully wrought episodic novel of a young woman writer's summer sojourn in the Maine fishing village of Dunnet Landing. Through Jewett, the young woman conveys the effect of her deepening connections to the people of Dunnet Landing, especially the sibylline Mrs. Todd, and her empathy with the mysteries of the coastal life, one where the land and the sea have equal influence.

This Modern Library edition includes additional Dunnet Landing stories that were published between 1896 and 1910.

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Dubliners was completed in 1905, but a series of British and Irish publishers and printers found it offensive and immoral, and it was suppressed. The book finally came out in London in 1914, just as Joyce's Portrait of the Artist as a Young Man began to appear in the journal Egoist under the auspices of Ezra Pound. The first three stories in Dubliners might be incidents from a draft of Portrait of the Artist, and many of the characters who figure in Ulysses have their first appearance here, but this is not a book of interest only because of its relationship to Joyce's life and mature work. It is one of the greatest story collections in the English language--an unflinching, brilliant, often tragic portrait of early twentieth-century Dublin. The book, which begins and ends with a death, moves from 'stories of my childhood' through tales of public life. Its larger purpose, Joyce said, was as a moral history of Ireland.

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Published in 1916, James Joyce's semiautobiographical tale of his alter ego, Stephen Dedalus, is a coming-of-age story like no other. A bold, innovative experiment with both language and structure, the work has exerted a lasting influence on the contemporary novel.

'Joyce dissolved mechanism in literature as effectively as Einstein destroyed it in physics,' wrote Alfred Kazin. 'He showed that the material of fiction could rest upon as tense a distribution and as delicate a balance of its parts as any poem. Joyce's passion for form, in fact, is the secret of his progress as a novelist. He sought to bring the largest possible quantity of human life under the discipline of the observing mind, and the mark of his success is that he gave an epic form to what remains invisible to most novelists.... Joyce means many things to different people; for me his importance has always been primarily a moral one. He was, perhaps, the last man in Europe who wrote as if art were worth a human life.... By living for his art he may yet have given others a belief in art worth living for.'

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Ulysses is one of the most influential novels of the twentieth century. It was not easy to find a publisher in America willing to take it on, and when Jane Jeap and Margaret Anderson started printing extracts from the book in their literary magazine The Little Review in 1918, they were arrested and charged with publishing obscenity. They were fined $100, and even The New York Times expressed satisfaction with their conviction. Ulysses was not published in book form until 1922, when another American woman, Sylvia Beach, published it in Paris her Shakespeare & Company. Ulysses was not available legally in any English-speaking country until 1934, when Random House successfully defended Joyce against obscenity charges and published it in the Modern Library. This edition follows the complete and unabridged text as corrected and reset in 1961. Judge John Woolsey's decision lifting the ban against Ulysses is reprinted, along with a letter from Joyce to Bennett Cerf, the publisher of Random House, and the original foreword to the book by Morris L. Ernst, who defended Ulysses during the trial.

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'I think I shall be among the English Poets after my death,' John Keats soberly prophesied in 1818 as he started writing the blankverse epic Hyperion. Today he endures as the archetypal Romantic genius who explored the limits of the imagination and celebrated the pleasures of the senses but suffered a tragic early death. Edmund Wilson counted him as 'one of the half dozen greatest English writers,' and T. S. Eliot has paid tribute to the Shakespearean quality of Keats's greatness. Indeed, his work has survived better than that of any of his contemporaries the devaluation of Romantic poetry that began early in this century. This Modern Library edition contains all of Keats's magnificent verse: 'Lamia,' 'Isabella,' and 'The Eve of St. Agnes'; his sonnets and odes; the allegorical romance Endymion; and the five-act poetic tragedy Otho the Great. Presented as well are the famous posthumous and fugitive poems, including the fragmentary 'The Eve of Saint Mark' and the great 'La Belle Dame sans Merci,' perhaps the most distinguished literary ballad in the language. 'No one else in English poetry, save Shakespeare, has in expression quite the fascinating felicity of Keats, his perception of loveliness,' said Matthew Arnold. 'In the faculty of naturalistic interpretation, in what we call natural magic, he ranks with Shakespeare.'

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Sons and Lovers is one of the landmark novels of the twentieth century. It was immediately recognized as the first great modern restatement of the oedipal drama when it appeared in 1913 and is widely considered the major work of D. H. Lawrence's early period. This intensely autobiographical novel recounts the story of Paul Morel, a young artist growing to manhood in a British working-class family rife with conflict. The author's vivid evocation of life in a Nottingham mining village in the years before the First World War and his depiction of the all-consuming nature of possessive love and sexual attraction make this one of his most powerful novels.

'Of all Lawrence's work, Sons and Lovers, tells us most about the emotional source of his ideas,' observed Diana Trilling. 'The famous Lawrence theme of the struggle for sexual power--and he is sure that all the struggles of civilized life have their root in this primary contest--is the constantly elaborated statement of the fierce battle which tore Lawrence's family.' For Kate Millett, 'Sons and Lovers is a great novel because it has the ring of something written from deeply felt experience. The past remembered, it conveys more of Lawrence's own knowledge of life than anything else he wrote. His other novels appear somehow artificial beside it.'

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D.H. Lawrence's magnificent exploration of human sexuality in the days surrounding World War I. 'Let us hesitate no longer to announce that the sensual passions and mysteries are equally sacred with the spiritual mysteries and passions,' wrote D.H. Lawrence in Women In Love, a masterpiece that heralded the erotic consciousness of the twentieth century. Echoing elements of Lawrence's own life, Women In Love delves into the mysteries between men and women as two couples strive for love against a haunting backdrop of coal mines, factories, and a beleaguered working class.

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With Commentary by E. M. Forster, Dorothy Parker, H. L. Mencken, Lewis Mumford, Rebecca West, Sherwood Anderson, Malcolm Cowley, Alfred Kazin, Constance Rourke, and Mark Schorer Main Street is the climax of civilization," Sinclair Lewis declared with a typical blend of seriousness and irony. "That this Ford car might stand in front of the Bon Ton Store, Hannibal invaded Rome and Erasmus wrote in Oxford cloisters." Main Street, the story of an idealistic young woman’s attempts to reform her small town, brought Lewis immediate acclaim when it was published in 1920. It remains one of the essential texts of the American scene. Lewis Mumford observed: "In Main Street an American had at last written of our life with something of the intellectual rigor and critical detachment that had seemed so cruel and unjustified [in Charles Dickens and Matthew Arnold]. Young people had grown up in this environment, suffocated, stultified, helpless, but unable to find any reason for their spiritual discomfort. Mr. Lewis released them." Sinclair Lewis (1885–1951), was born in Sauk Centre, Minne-sota, and graduated from Yale in 1907; in 1930 he became the first American recipient of the Nobel Prize in Literature. Main Street (1920) was his first critical and commercial success. Lewis’s other noted books include Babbitt (1922), Arrowsmith (1925), Elmer Gantry (1927), Dodsworth (1929), and It Can’t Happen Here (1935).

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'To this day Jack London is the most widely read American writer in the world,' E. L. Doctorow wrote in The New York Times Book Review. Generally considered to be London’s greatest achievement, The Call of the Wild brought him international acclaim when it was published in 1903. His story of the dog Buck, who learns to survive in the bleak Yukon wilderness, is viewed by many as his symbolic autobiography. 'No other popular writer of his time did any better writing than you will find in The Call of the Wild,' said H. L. Mencken. 'Here, indeed, are all the elements of sound fiction.'

White Fang (1906), which London conceived as a 'complete antithesis and companion piece to The Call of the Wild,' is the tale of an abused wolf-dog tamed by exposure to civilization. Also included in this volume is 'To Build a Fire,' a marvelously desolate short story set in the Klondike, but containing all the elements of a classic Greek tragedy.

'The quintessential Jack London is in the on-rushing compulsive-ness of his northern stories,' noted James Dickey. 'Few men have more convincingly examined the connection between the creative powers of the individual writer and the unconscious drive to breed and to survive, found in the natural world. . . . London is in and committed to his creations to a degree very nearly unparalleled in the composition of fiction.'

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The legends of King Arthur and his knights of the Round Table have inspired some of the greatest works of literature--from Cervantes's Don Quixote to Tennyson's Idylls of the King. Although many versions exist, Malory's stands as the classic rendition. Malory wrote the book while in Newgate Prison during the last three years of his life; it was published some fourteen years later, in 1485, by William Caxton. The tales, steeped in the magic of Merlin, the powerful cords of the chivalric code, and the age-old dramas of love and death, resound across the centuries.

The stories of King Arthur, Lancelot, Queen Guenever, and Tristram and Isolde seem astonishingly moving and modern. Malory's Le Morte d'Arthur endures and inspires because it embodies mankind's deepest yearnings: for brotherhood and community; a love worth dying for; and valor, honor, and chivalry. 'Le Morte d'Arthur remains an enchanted sea for the reader to swim about in, delighting at the random beauties of fifteenth-century prose,' said Robert Graves.

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'It is very difficult for a writer of my generation, if he is honest, to pretend indifference to the work of Somerset Maugham,' wrote Gore Vidal. 'He was always so entirely there.' Originally published in 1915, Of Human Bondage is a potent expression of the power of sexual obsession and of modern man’s yearning for freedom. This classic bildungsroman tells the story of Philip Carey, a sensitive boy born with a clubfoot who is orphaned and raised by a religious aunt and uncle. Philip yearns for adventure, and at eighteen leaves home, eventually pursuing a career as an artist in Paris. When he returns to London to study medicine, he meets the androgynous but alluring Mildred and begins a doomed love affair that will change the course of his life. There is no more powerful story of sexual infatuation, of human longing for connection and freedom. 'Here is a novel of the utmost importance,' wrote Theodore Dreiser on publication. 'It is a beacon of light by which the wanderer may be guided. . . . One feels as though one were sitting before a splendid Shiraz of priceless texture and intricate weave, admiring, feeling, responding sensually to its colors and tones.' With an Introduction by Gore Vidal Commentary by Theodore Dreiser and Graham Greene.

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First published in 1856, five years after the appearance of Moby Dick, The Piazza Tales comprises six of Herman Melville's finest short stories. Included are two sea tales that encompass the essence of Melville's art: 'Benito Cereno,' an exhilarating account of mutiny and rescue aboard a disabled slave ship, which is a parable of man's struggle against the forces of evil, and 'The Encantadas,' ten allegorical sketches of the Galapagos Islands, which reveal nature to be both enchanting and horrifying. Two pieces explore themes of isolation and defeat found in Melville's great novels: 'Bartleby, the Scrivener,' a prophetically modern story of alienation and loss on nineteenth-century Wall Street, and 'The Bell-Tower,' a Faustian tale about a Renaissance architect who brings about his own violent destruction. The other two works reveal Melville's mastery of very different writing styles: 'The Lightning-Rod Man,' a satire showcasing his talent for Dickensian comedy, and 'The Piazza,' the title story of the collection, which anticipates the author's later absorption with poetry.

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"Parkman was . . . perhaps the first great historian the United States produced, certainly still one of [the] most notable. The vividness of his narrative breathes the excitement he felt . . . in penetrating the Great American Wilderness." --John Keegan

René-Robert Cavelier de La Salle (1643-1687), one of the most legendary explorers of the New World, is best known forclaiming the entire Louisiana Territory for France in 1682. Two years later, he was given the order to colonize and govern the great expanse of territory between Lake Michigan and the Gulf of Mexico. He set out from France with four ships but never reached his destination. Landing somewhere in East Texas, he and his men were ravaged by disease, weakened by hard labor, even gored by buffalo as they tried to locate the mouth of the Mississippi River, which was obscured by the sandy sameness of the Gulf coastline. In 1687, on a third attempt to locate the river by an overland route, La Salle was murdered by his own men in the desolate country between the Trinity and Brazos rivers. His body was never found.

First published in 1869, La Salle and the Discovery of the Great West is the vivid, richly detailed story of that final grim expedition, told by America's foremost historian.

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Plutarch's 'Parallel Lives,' written at the beginning of the second century A.D., form a brilliant social history of the ancient world. They were originally presented in a series of books that gave an account of one Greek and one Roman life, followed by a comparison of the two: Theseus and Romulus, Alcibiades and Coriolanus, Demosthenes and Cicero, Demetrius and Antony. Plutarch was interested in the personalities of his subjects and on the way their characters molded their actions, leading them to tragedy or victory. He was a moralist of the highest order. 'It was for the sake of others that I first commenced writing biographies,' he says, 'but I find myself proceeding and attaching myself to it for my own; the virtues of these great men serving me as a sort of looking-glass, in which I may see how to adjust and adorn my own life.' Plutarch was a man of immense erudition who had traveled widely throughout the Roman Empire, and the Lives are richly anecdotal and full of detail. They were the principal source of Shakespeare's Roman plays.

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Plutarch's Parallel Lives, written at the beginning of the second century A.D., form a brilliant social history of the ancient world. They were originally presented in a series of books that gave an account of one Greek and one Roman life, followed by a comparison of the two: Theseus and Romulus, Alcibiades and Coriolanus, Demosthenes and Cicero, Demetrius and Antony. Plutarch was interested in the personalities of his subjects and on the way their characters molded their actions, leading them to tragedy or victory. He was a moralist of the highest order. 'It was for the sake of others that I first commenced writing biographies' he says, 'but I find myself proceeding and attaching myself to it for my own; the virtues of these great men serving me as a sort of looking-glass, in which I may see how to adjust and adorn my own life' Plutarch was a man of immense erudition who had traveled widely throughout the Roman Empire, and the Lives are richly anecdotal and full of detail. They were the principal source of Shakespeare's Roman plays.

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"It is a magnificent epic," said William H. Prescott after the publication of History of the Conquest of Mexico in 1843. Since then, his sweeping account of Cortés’s subjugation of the Aztec people has endured as a landmark work of scholarship and dramatic storytelling. This pioneering study presents a compelling view of the clash of civilizations that reverberates in Latin America to this day.

"Regarded simply from the standpoint of literary criticism, the Conquest of Mexico is Prescott’s masterpiece," judged his biographer Harry Thurston Peck. "More than that, it is one of the most brilliant examples which the English language possesses of literary art applied to historical narration. . . . Here, as nowhere else, has Prescott succeeded in delineating character. All the chief actors of his great historic drama not only live and breathe, but they are as distinctly differentiated as they must have been in life. Cortés and his lieutenants are persons whom we actually come to know in the pages of Pres-cott. . . . Over against these brilliant figures stands the melancholy form of Montezuma, around whom, even from the first, one feels gathering the darkness of his coming fate. He reminds one of some hero of Greek tragedy, doomed to destruction and intensely conscious of it, yet striving in vain against the decree of an inexorable destiny. . . . [Prescott] transmuted the acquisitions of laborious research into an enduring monument of pure literature."

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Originally published in 1847, History of the Conquest of Peru, a companion volume to William H. Prescott's masterly History of the Conquest of Mexico, continues his vivid chronicle of Spanish exploits in the New World. The book's commanding vision of Pizarro's tumultuous overthrow of the Inca empire has secured its reputation as a classic in the literature of Latin American history.

'History of the Conquest of Peru represents an author's triumph over his materials,' observed Donald G. Darnell, one of the historian's several biographers. 'Prescott exploits to the fullest any opportunities for dramatic effects that history might provide him. . . . If there is one [distinguishing] feature of the Conquest of Peru . . . it is the portrayal of the Spanish character, that striking fusion of courage, cruelty, pride, and gallows humor. . . . We seem to be overhearing dialogue and observing firsthand the interaction between the Spaniards as they struggle for control of an empire. . . . Although Peru lacks a noble protagonist . . . it is still an immensely readable history. The description of the Inca civilization, particularly its wealth, the precise explanation of the cause of the conflict between the conquerors, and the depiction of the Spanish character--these together with the careful research, the sheer abundance of anecdotes, and the exploitation of primary materials all contribute to the history's continuing popularity.'

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The transmutation of sensation into sentiment, the ebb tide of memory, waves of emotion such as desire, jealousy, and artistic euphoria--this is the material of this enormous and yet singularly light and translucid work.

--VLADIMIR NABOKOV

In the overture to Swann's Way, the themes of the whole of In Search of Lost Time are introduced, and the narrator's childhood in Paris and Combray is recalled, most memorably in the evocation of the famous maternal good-night kiss. The recollection of the narrator's love for Swann's daughter Gilberte leads to an account of Swann's passion for Odette and the rise of the nouveaux riches Verdurins.

The final volume of a new, definitive text of A la recherche du temps perdu was published by the Bibliotheque de la Pleiade in 1989. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin's acclaimed reworking of C. K. Scott Moncrieff's translation to take into account the new French editions.

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Within a Budding Grove received the Prix Goncourt when it was published in 1919 and catapulted its author to overnight fame. It takes the autobiographical narrator of Swann's Way from childhood through adolescence. He loses interest in Gilberte and falls in love with Albertine, the dark girl on her bicycle, with 'that little beauty spot on her cheek, just under the eye.' Albertine, her friends, and the fictional Normandy resort of Balbec become the primary agents of recollection for him.

The final volume of a new, definitive text of A la recherche du temps perdu was published by the Bibliotheque de la Pleiade in 1989. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin's acclaimed reworking of C. K. Scott Moncrieff's translation to take into account the new French editions.

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'Flower and plant have no conscious will. They are shameless, exposing their genitals. And so in a sense are Proust's men and women . . . shameless. There is no question of right and wrong. Homosexuality . . . is as devoid of moral implications as the mode of fecundation of the Primula veris or the Lythrum salicoria. --SAMUEL BECKETT

The theme of Sodom and Gomorrah is sexual ambiguity. In the opening scene, the narrator secretly observes a sexual encounter between two men that is played out 'as though in obedience to the laws of an occult art' The book unfolds on matters of 'vice,' 'inversion,' mystery, desire, love, longing, and illusion.

The final volume of a new, definitive text of A la recherche du temps perdu was published by the Bibliotheque de la Pleiade in 1989. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin's acclaimed reworking of C. K. Scott Moncrieff's translation to take into account the new French editions.

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'Proust is perhaps the last great historian of the loves, the society, the intelligence, the diplomacy, the literature and the art of the Heartbreak House of capitalist culture.' --EDMUND WILSON

The final volume of In Search of Lost Time chronicles the years of World War I, when, as M. de Charlus reflects on a moonlit walk, Paris threatens to become another Pompeii. Years later, after the war's end, Proust's narrator returns to Paris, where Mme. Verdurin has become the Princesse de Guermantes. He reflects on time, reality, jealousy, artistic creation, and the raw material for literature--his past life. This volume also includes the indispensable Guide to Proust, an index to all six volumes of the novel.

The final volume of a new, definitive text of A la recherche du temps perdu was published by the Bibliotheque de la Pleiade in 1989. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin's acclaimed reworking of C. K. Scott Moncrieff's translation to take into account the new French editions.

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"The Guermantes Way" is the path that runs past the chateau belonging to the Duc and Duchesse de Guermantes. It also represents the path into "the social kaleidoscope" traveled by Proust's narrator, which culminates in his introduction to the Paris salon of the Guermantes. The rich cast of characters in this third volume of In Search of Lost Time includes Robert de Saint-Loup, who is obsessed with the prostitute Rachel, and Baron de Charlus, a public womanizer and secret homosexual.

The final volume of a new, definitive text of A la recherche du temps perdu was published by the Bibliotheque de la Pleiade in 1989. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin's acclaimed reworking of C. K. Scott Moncrieff's translation to take into account the new French editions.

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"Proust was the greatest novelist of the twentieth century, just as Tolstoy was in the nineteenth."

--Graham Greene

The Modern Library's fifth volume of Proust's masterpiece, À la recherche du temps perdu, contains both The Captive (1923) and The Fugitive (1925). In The Captive, Proust's narrator describes living with his lover, Albertine, in his mother's Paris apartment. He finds himself, by turns, falling out of love with Albertine and obsessing about whom she may or may not love. In The Fugitive, the narrator loses Albertine forever. It is during his sojourn in Venice that he receives a fateful telegram from Gilberte, Swann's red-haired daughter. Rich with irony, the story inspires meditations on desire, sexual love, music, and the art of introspection. Graham Greene wrote, "For those who began to write at the end of the twenties or the beginning of the thirties, there were two great inescapable influences: Proust and Freud, who are mutually complementary."

The final volume of a new, definitive text of À la recherche du temps perdu was published by the Bibliothèque de la Pléiade in 1989. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin's acclaimed reworking of C. K. Scott Moncrieff's translation to take into account the new French editions.

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