Authors R-W:
Roosevelt, Theodore
Saint Augustine
Scott, Sir Walter
Shakespeare, William
Shelley, Mary
Smith, Adam
Stein, Gertrude
Sterne, Laurence
Stocker, Bram
Stowe, Harriet Beecher
Swift, Jonathan
Tarkington, Booth
Thackeray, William Makepeace
Thoreau, Henry David
Trollope, Anthony
Twain, Mark
Walton, Izaak
Wharton, Edith
Whitman, Walt
Wilde, Oscar

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One of the great cornerstones in the history of Christian thought, The City of God is vital to an understanding of modern Western society and how it came into being. Begun in A.D. 413 by Saint Augustine, the great theologian who was bishop of Hippo, the book's initial purpose was to refute the charge that Christianity was to blame for the fall of Rome (which had occurred just three years earlier). Indeed, Augustine produced a wealth of evidence to prove that paganism bore within itself the seeds of its own destruction. However, over the next thirteen years that it took to complete the work, the brilliant ecclesiastic proceeded to his larger theme: a cosmic interpretation of history in terms of the struggle between good and evil. By means of his contrast of the earthly and heavenly cities--the one pagan, self-centered, and contemptuous of God and the other devout, God-centered, and in search of grace--Augustine explored and interpreted human history in relation to eternity. After you finish The City of God it becomes clear why some have suggested that most of Western thought could be read as 'a series of footnotes to Augustine.' This edition of The City of God, in the Marcus Dods translation, is complete and unabridged. The introduction is by Thomas Merton, Trappist monk and author of The Seven Storey Mountain and The Waters of Siloe.

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'The reader who has never met Augustine before ought to go first of all to the Confessions,' reflected the Trappist monk and scholar Thomas Merton. 'Augustine lived the theology that he wrote. . . . He experienced the reality of Christ living in his own soul.'

Saint Augustine, the celebrated theologian who served as Bishop of Hippo from A.D. 396 until his death in A.D. 430, is widely regarded as one of the most influential thinkers in the Western world. Written in the form of a long prayer addressed directly to God, Augustine's Confessions, the remarkable chronicle of his conversion to Christianity, endures as the greatest spiritual autobiography of all time.

'Augustine possessed a strong, capacious, argumentative mind,' wrote Edward Gibbon. 'He boldly sounded the dark abyss of grace, predestination, free-will, and original sin.' And the eminent historian Jaroslav Pelikan remarked: 'There has, quite literally, been no century of the sixteen centuries since the conversion of Augustine in which he has not been a major intellectual, spiritual, and cultural force.'

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Written during his days as a ranchman in the Dakota Bad Lands, these two wilderness tales by Theodore Roosevelt endure today as part of the classic folklore of the West. The narratives provide vivid portraits of the land as well as the people and animals that inhabited it, ever underscoring the author's abiding concerns as a naturalist.

Originally published in 1885, Hunting Trips of a Ranchman chronicles Roosevelt's adventures tracking a twelve-hundred-pound grizzly bear in the pine forests of the Bighorn Mountains. Yet some of the best sections are those in which Roosevelt muses on the beauty of the Bad Lands and the simple pleasures of ranch life. The British Spectator said the book 'could claim an honourable place on the same shelf as Walton's Compleat Angler.' The Wilderness Hunter, which came out in 1893, remains perhaps the most detailed account of the private life of the grizzly bear ever recorded.

This Modern Library edition contains an introduction by historian Stephen E. Ambrose, author of Undaunted Courage.

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Published when Theodore Roosevelt was only twenty-three years old, The Naval War of 1812 was immediately hailed as a literary and scholarly triumph, and it is still considered the definitive book on the subject. It caused considerable controversy for its bold refutation of earlier accounts of the war, but its brilliant analysis and balanced tone left critics floundering, changed the course of U.S. military history by renewing interest in our obsolete forces, and set the young author and political hopeful on a path to greatness. Roosevelt’s inimitable style and robust narrative make The Naval War of 1812 enthralling, illuminating, and utterly essential to every armchair historian. The books in the Modern Library War series have been chosen by series editor Caleb Carr according to the significance of their subject matter, their contribution to the field of military history, and their literary merit.

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In 1898, as the Spanish-American War was escalating, Theodore Roosevelt assembled an improbable regiment of Ivy Leaguers, cowboys, Native Americans, African-Americans, and Western Territory land speculators. This group of men, which became known as the Rough Riders, trained for four weeks in the Texas desert and then set sail for Cuba. Over the course of the summer, Roosevelt's Rough Riders fought valiantly, and sometimes recklessly, in the Cuban foothills, incurring casualties at a far greater rate than the Spanish. Roosevelt kept a detailed diary from the time he left Washington until his triumphant return from Cuba later that year. The Rough Riders was published to instant acclaim in 1899.

Robust in its style and mesmerizing in its account of battle, it is exhilarating, illuminating, and utterly essential reading for every armchair historian and at-home general. The books in the Modern Library War series have been chosen by series editor Caleb Carr according to the significance of their subject matter, their contribution to the field of military history, and their literary merit.

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Hailed by Victor Hugo as 'the real epic of our age,' Ivanhoe was an immensely popular bestseller when first published in 1819. The book inspired literary imitations as well as paintings, dramatizations, and even operas. Now Sir Walter Scott's sweeping romance of medieval England has prompted a lavish new television production.

In the twelfth century, Sir Wilfred of Ivanhoe returns home to England from the Third Crusade to claim his inheritance and the love of the lady Rowena. The heroic adventures of this noble Saxon knight involve him in the struggle between Richard the Lion-Hearted and his malignant brother John: a conflict that brings Ivanhoe into alliance with the mysterious outlaw Robin Hood and his legendary fight for the forces of good.

'Scott's characters, like Shakespeare's and Jane Austen's, have the seed of life in them,' observed Virginia Woolf. 'The emotions in which Scott excels are not those of human beings pitted against other human beings, but of man pitted against Nature, of man in relation to fate. His romance is the romance of hunted men hiding in woods at night; of brigs standing out to sea; of waves breaking in the moonlight; of solitary sands and distant horsemen; of violence and suspense.' For Henry James, 'Scott was a born storyteller. . . . Since Shakespeare, no writer has created so immense a gallery of portraits.'

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This Modern Library edition presents all fourteen comedies—each complete and unabridged—in the Shakespearean canon, along with notes and glossary. Here are:

The Tempest
The Two Gentlemen of Verona
The Merry Wives of Windsor
Measure for Measure
The Comedy of Errors
Much Ado About Nothing
Love’s Labour’s Lost
A Midsummer-Night’s Dream
The Merchant of Venice
As You Like It
The Taming of the Shrew
All’s Well That Ends Well
Twelfth-Night
The Winter’s Tale

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This Modern Library edition presents all ten histories—each complete and unabridged—in the Shakespearean canon, along with notes and glossary. Here are:


King John
Richard II
Henry IV, Part I
Henry IV, Part II
Henry V
Henry VI, Part I
Henry VI, Part II
Henry VI, Part III
Richard III
Henry VIII



Included also are the Bard’s great narrative poems: Venus and Adonis and The Rape of Lucrece, the two works that first established Shakespeare’s reputation, plus all 154 of his sonnets. Presented as well are A Lover’s Complaint, The Passionate Pilgrim, and The Phoenix and the Turtle.

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Frankenstein is a masterpiece of nineteenth-century Gothicism and the prototype of the twentieth-century science-fiction novel. It was conceived in the Swiss Alps in mid-June 1816 after a conversation about bringing corpses to life provoked a nightmare, and was written over the next eleven months in largely morbid circumstances. Death and the terrors of childbirth--as much as Romanticism, a burgeoning awareness of unconscious drives, and contemporary ideas of atheism, the collapse of the social contract, and the corrupting influence of society on human nature--inform this story of a man (or monster) built by Dr. Victor Frankenstein and brought to life by electricity. The monster's culpability for various horrific acts, his powerlessness in the face of his complete ostracism from society, and Dr. Frankenstein's lies, abdication of responsibility, and the pain he inflicts on his creation raised chilling questions that made the novel an immediate bestseller.

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Adam Smith's masterpiece, first published in 1776, is the foundation of modern economic thought and remains the single most important account of the rise of, and the principles behind, modern capitalism. Written in clear and incisive prose, The Wealth of Nations articulates the concepts indispensable to an understanding of contemporary society; and Robert Reich's new Introduction for this edition both clarifies Smith's analyses and illuminates his overall relevance to the world in which we live. As Reich writes, "Smith's mind ranged over issues as fresh and topical today as they were in the late eighteenth century--jobs, wages, politics, government, trade, education, business, and ethics."

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'I always wanted to be historical,' Gertrude Stein once quipped. In 1932, Stein began writing the 'autobiography' of her longtime friend and companion, Alice B. Toklas. The book, an immediate bestseller, guaranteed them both a place in history. An account of their life together in Paris before, during, and after World War I, it is full of the atmosphere of the changing life of the city and of idiosyncratic glimpses of such figures as Matisse, Picasso, Braque, Cocteau, Apollinaire, Pound, Eliot, Hemingway, and other luminaries and aspirants who were their close friends. But at the center of the narrative there is always the titanic figure of Gertrude Stein, the self-proclaimed 'first-class genius' who some dismissed as the 'Mother Goose of Montparnasse,' presiding over her celebrated residence-salon-art gallery at 27, rue de Fleurus. William Troy remarked about her: 'It is not flippant to say that if she had not come to exist . . . it would be necessary to invent Miss Gertrude Stein.'

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Tristram Shandy provoked a literary sensation when it first appeared in a series of installments between 1759 and 1767. The ribald, high-spirited book prompted Diderot to hail Sterne as 'the English Rabelais.' An ingeniously structured novel (about writing a novel) that fascinates like a verbal game of chess, Tristram Shandy is both a joyful celebration of the infinite possibilities of the art of fiction and a wry demonstration of its limitations. Many view this picaresque masterpiece as the precursor of the modern novel.

A Sentimental Journey, which came out in 1768, begins as a travelogue. Yet it ends as a treasury of portraits, sketches, and philosophical musings, for as Virginia Woolf observed: 'A Sentimental Journey, for all its levity and wit, is based upon something fundamentally philosophic--the philosophy of pleasure.'

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Of the many admiring reviews Bram Stoker's Dracula received when it first appeared in 1897, the most astute praise came from the author's mother, who wrote her son: 'It is splendid. No book since Mrs. Shelley's Frankenstein or indeed any other at all has come near yours in originality, or terror.'

A popular bestseller in Victorian England, Stoker's hypnotic tale of the bloodthirsty Count Dracula, whose nocturnal atrocities are symbolic of an evil ages old yet forever new, endures as the quintessential story of suspense and horror. The unbridled lusts and desires, the diabolical cravings that Stoker dramatized with such mythical force, render Dracula resonant and unsettling a century later.

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An international bestseller that sold more than 300,000 copies when it first appeared in 1852, Uncle Tom's Cabin was dismissed by some as abolitionist propaganda; yet Tolstoy deemed it a great work of literature 'flowing from love of God and man.'

Today, however, Harriet Beecher Stowe's stirring indictment of slavery if often confused with garish dramatizations that flourished for decades after the Civil War: productions that relied heavily on melodramatic simplifications of character totally alien to the original. Thus 'Uncle Tom' has become a pejorative term for a subservient black, whereas Uncle Tom in the book is a man who, under the most inhumane of circumstances, never loses his human dignity.

'Uncle Tom's Cabin is the most powerful and most enduring work of art ever written about American slavery,' said Alfred Kazin.

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'It is universally read, from the cabinet council to the nursery,' remarked Alexander Pope when Gulliver's Travels was published in 1726. One of the unique books of world literature, Swift's masterful satire describes the astonishing voyages of one Lemuel Gulliver, a ship's surgeon, to surreal kingdoms inhabited by miniature people and giants, quack philosophers and scientists, horses endowed with reason and men who behave like beasts. Written with great wit and invention, Gulliver's Travels is a savage parody on man and his institutions that has captivated readers for nearly three centuries.

As bestselling author and critic Allan Bloom observed: 'Gulliver's Travels is an amazing rhetorical achievement. Swift had not only the judgment with which to arrive at a reasoned view of the world but the fancy by means of which he could re-create that world in a form which teaches where argument fails and which satisfies all while misleading none.'

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Winner of the Pulitzer Prize when it was first published in 1918, The Magnificent Ambersons chronicles the changing fortunes of three generations of an American dynasty. The protagonist of Booth Tarkington’s great historical drama is George Amberson Minafer, the spoiled and arrogant grandson of the founder of the family’s magnificence. Eclipsed by a new breed of developers, financiers, and manufacturers, this pampered scion begins his gradual descent from the midwestern aristocracy to the working class. Today The Magnificent Ambersons is best known through the 1942 Orson Welles movie, but as the critic Stanley Kauffmann noted, "It is high time that [the novel] appear again, to stand outside the force of Welles’s genius, confident in its own right." "The Magnificent Ambersons is perhaps Tarkington’s best novel," judged Van
Wyck Brooks. "[It is] a typical story of an American family and town—the great family that locally ruled the roost and vanished virtually in a day as the town spread and darkened into a city. This novel no doubt was a permanent page in the social history of the United States, so admirably conceived and written was the tale of the Amber-sons, their house, their fate and the growth of the community in which they were submerged in the end." Booth Tarkington (1869–1946), a prolific writer who achieved overnight success with his first novel, The Gentleman from Indiana (1899), is perhaps best remembered as the author of the popular Penrod adventures and Seventeen (1916). He was awarded a second Pulitzer Prize for the novel Alice Adams (1921).

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"Re-reading Vanity Fair, one realises what a brilliant innovation this was in the English novel," remarked V. S. Pritchett. "Thackeray is like the modern novelists who derive from James and Proust, in his power of dissecting (and of desiccating!) character."

Generally considered to be his masterpiece, Vanity Fair is Thackeray’s resplendent social satire that exposes the greed and corruption raging in England during the turmoil of the Napoleonic wars. Subtitled "A Novel Without a Hero," it traces the changing fortunes of two unforgettable women: the scheming opportunist Becky Sharp—one of literature’s most resourceful, engaging, and amoral heroines—and her foil, the faithful, naive Amelia Sedley. Thackeray’s subversive, comic attack on the hypocrisy and "dismal roguery" of an avaricious world resonates 150 years later with implications for our own times.

"Thackeray is an urbane nineteenth-century guide and commentator in a portrait gallery that is for all time," observed Louis Auchincloss. "He is the restless inhabitant of a prudish age, nostalgic, discursive, anecdotal, sentimental, worldly-wise, now warning us, now making fun of us, now reproving us .... Thackeray’s harshest criticism of humanity is simply the point where ours commences. His perception of self-interest in every act is the ABC of modem psychology."

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Henry David Thoreau's vision of personal freedom is indelibly etched on the American consciousness. 'We need the tonic of wildness,' Thoreau wrote in Walden, and by turning his back on town amenities to build a house on Walden Pond in 1845, he helped shape our notions of the individual, subsistence, and a moral relation to nature. Raising white beans and potatoes that he sold to his Concord neighbors, he stayed for two years; his book records both the philosophy he developed while living alone and the facts of his everyday life. Included here with the complete text of Walden are selections from Thoreau's first book, A Week on the Concord and Merrimack Rivers; 'A Plea for Captain John Brown,' his eloquent defense of the American abolitionist's rebellion at Harper's Ferry, and such masterpieces as his famous essay 'Civil Disobedience,' in which he describes a night spent in prison for refusing to pay a poll tax to a government that condoned slavery.

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'Trollope did not write for posterity,' observed Henry James. 'He wrote for the day, the moment; but these are just the writers whom posterity is apt to put into its pocket.' Considered by contemporary critics to be Trollope's greatest novel, The Way We Live Now is a satire of the literary world of London in the 1870s and a bold indictment of the new power of speculative finance in English life. 'I was instigated by what I conceived to be the commercial profligacy of the age,' Trollope said.

His story concerns Augustus Melmotte, a French swindler and scoundrel, and his daughter, to whom Felix Carbury, adored son of the authoress Lady Carbury, is induced to propose marriage for the sake of securing a fortune. Trollope knew well the difficulties of dealing with editors, publishers, reviewers, and the public; his portrait of Lady Carbury, impetuous, unprincipled, and unswervingly devoted to her own self-promotion, is one of his finest satirical achievements.

His picture of late-nineteenth-century England is a portrait of a society on the verge of moral bankruptcy. In The Way We Live Now Trollope combines his talents as a portraitist and his skills as a storyteller to give us life as it was lived more than a hundred years ago.

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'All modern American literature comes from one book by Mark Twain called Huckleberry Finn,' Ernest Hemingway wrote. 'It's the best book we've had.' A complex masterpiece that has spawned volumes of scholarly exegesis and interpretative theories, it is at heart a compelling adventure story. Huck, in flight from his murderous father, and Nigger Jim, in flight from slavery, pilot their raft thrillingly through treacherous waters, surviving a crash with a steamboat, betrayal by rogues, and the final threat from the bourgeoisie. Informing all this is the presence of the River, described in palpable detail by Mark Twain, the former steamboat pilot, who transforms it into a richly metaphoric entity. Twain's other great innovation was the language of the book itself, which is expressive in a completely original way. 'The invention of this language, with all its implications, gave a new dimension to our literature,' Robert Penn Warren noted. 'It is a language capable of poetry.'

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'I am a person who would quit authorizing in a minute to go to piloting,' Mark Twain once remarked. 'I would rather sink a steamboat than eat, any time.' And in 1882, Twain did just that: he returned to the river of his youth as a mature writer determined to expand seven articles which he had serialized in The Atlantic Monthly in 1875 into the definitive travelogue on the great Mississippi. Although Life on the Mississippi was not commercially successful when first published in May 1883, it is the work that Twain later claimed was the favorite among his books. Twain's rich portrait of the Mississippi also marks a distinctive transition in the life of the nation, from the boom years preceding the Civil War to the sober times that followed. Yet it is infused with the irreverent humor that was his trademark. 'Mark Twain was the first writer who ever used the American vernacular at the level of art,' said Bernard de Voto. 'He had a greater effect than any other writer on the evolution of American prose.'

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An immediate success when if was first published in 1653, Walton's classic celebrtion of the joys of fishing continues to captivate anglers and nature lovers with its timeless advice and instruction. Originally cast in the form of a dialogue between an experienced angler named Piscator and his pupil Viator, the book details methods for catching, eating, and savoring all varieties of fish, from the common chub to the lordly salmon. More than an engaging guide to the subtle intricacies of the sport, Walton's reflective treatise is a graceful portrait of rural England that extols the pleasures of country life.

'The Compleat Angler is not about how to fish but about how to be,' said novelist Thomas McGuane. '[Walton] spoke of an amiable mortality and rightness on the earth that has been envied by his readers for three hundred years.'

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Newland Archer saw little to envy in the marriages of his friends, yet he prided himself that in May Welland he had found the companion of his needs—tender and impressionable, with equal purity of mind and manners. The engagement was announced discreetly, but all of New York society was soon privy to this most perfect match, a union of families and circumstances cemented by affection.

Enter Countess Olenska, a woman of quick wit sharpened by experience, not afraid to flout convention and determined to find freedom in divorce. Against his judgment, Newland is drawn to the socially ostracized Ellen Olenska, who opens his eyes and has the power to make him feel. He knows that in sweet-tempered May, he can expect stability and the steadying comfort of duty. But what new worlds could he discover with Ellen? Written with elegance and wry precision, Edith Wharton’s Pulitzer Prize–winning masterpiece is a tragic love story and a powerful homily about the perils of a perfect marriage.

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Abraham Lincoln read it with approval, but Emily Dickinson described its bold language and themes as 'disgraceful.' And Ralph Waldo Emerson found Leaves of Grass 'the most extraordinary piece of wit and wisdom that America has yet contributed,' calling it a 'combination of the Bhagavad Gita and the New York Herald.' Published at the author's own expense on July 4, 1855, Leaves of Grass initially consisted of a preface, twelve untitled poems in free verse (including the work later titled 'Song of Myself' which Malcolm Cowley called 'one of the great poems of modern times'), and a now-famous portrait of a devil-may-care Walt Whitman in a workman's shirt. Over the next four decades,
Whitman continually expanded and revised the book as he took on the role of a workingman's bard who championed American nationalism, political democracy, contemporary progress, and unashamed sex. This volume, which contains 383 poems, is the final 'Deathbed Edition' published in 1892.

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Oscar Wilde's story of a fashionable young man who sells his soul for eternal youth and beauty is his most popular work. Written in Wilde's characteristically dazzling manner, full of stinging epigrams and shrewd observations, the tale of Dorian Gray's moral disintegration caused something of a scandal when it first appeared in 1890. Wilde was attacked for his decadence and corrupting influence. He responded that, while he was 'quite incapable of understanding how a work of art can be criticized from a moral standpoint,' there is, in fact, 'a terrible moral in Dorian Gray.' A few years later the book and the aesthetic/moral dilemma it presented became issues in the trials occasioned by Wilde's homosexual liaisons, trials that resulted in his imprisonment.

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