Classics Books

Book SynopsisFrom the predatory same-sex desire in “Carmilla” to the ghostly hallucinations in “Green Tea,” the five supernatural stories in In a Glass Darkly reflect a profound and deeply disturbing uncertainty about the nature of humanity. Originally published separately in magazines, the stories are framed and linked in this collection as case notes in the papers of the fictional Dr. Hesselius. Sheridan Le Fanu’s approach to the supernatural reworks traditional Irish oral storytelling and combines it with nineteenth-century adaptations of the eighteenth-century Gothic novel. Appendices include Le Fanu’s correspondence about the stories, posthumous assessments of his life and work, and twentieth-century critical commentaries by M.R. James and Elizabeth Bowen. Engravings from the original serial publications of several stories are also included. Trade Review“Le Fanu’s In a Glass Darkly is one of the landmark works of Victorian Gothic. It contains some of the greatest ghost stories ever written, and in ‘Carmilla’ one of the most important vampire tales. Elizabeth Tilley’s brilliant new edition is the best one we’ve ever had, and it takes us closer to Le Fanu’s collection than we’ve ever been before. With its wonderful introduction and its superb selection of critical and contextual material, this book has everything a serious reader needs.” — Darryl Jones, Trinity College DublinTable of Contents In a Glass Darkly Green Tea The Familiar Mr. Justice Harbottle The Room in the Dragon Volant Carmilla Appendix A: Reviews and Early Observations 1. Contemporary Reviews (a) The Athenaeum (6 July 1872) (b) The Saturday Review (17 August 1872) (c) The Examiner (6 July 1872) 2. Twentieth-century notices of Le Fanu’s work (a) From M.R. James, “Some Remarks on Ghost Stories,” The Bookman (December 1929) (b) From Elizabeth Bowen, “Preface to Uncle Silas,” Collected Impressions (1950) Appendix B: Obituaries 1. The Irish Times (8 February 1873) 2. The Freeman’s Journal (10 February 1873) 3. The Irish Builder (15 February 1873) 4. The Illustrated London News (15 February 1873) Appendix C: On Swedenborg 1. From The Saturday Review (11 May 1867) Appendix D: Correspondence between Le Fanu and others 1. Charles Dickens to Le Fanu (24 September 1869) 2. Charles Dickens to Le Fanu (24 November 1869) 3. Le Fanu to George Bentley (3 January 1870) 4. Le Fanu to J. Munnings (16 June 1872) 5. Le Fanu to J. Munnings (24 June 1872)

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Book SynopsisThis edition presents 33 of the 100 tales, with at least two from each of the ten days of storytelling. Boccaccio’s general introduction and conclusion to the work are also included, as are the introduction and conclusion to the first day; the reader is thus provided with a real sense of the Decameron’s framing narrative. Extensive explanatory notes are provided, and the volume is prefaced by a concise but wide-ranging introduction to Boccaccio’s life and times, as well as to the Decameron itself. A unique selection of contextual materials concludes the volume.Trade Review“Furnished with an engaging selection of tales, a formidable apparatus of primary texts and reproductions [from the] visual arts, this is an ideal text for a course in English on Boccaccio’s Decameron. The translators have struck an enviable balance between the colloquial valences of the dialogue and the more formal moments of its register, all while untangling the complex syntax that can be daunting to the non-specialist….This is a Decameron that is accessible and comprehensible, inviting the general reader into its rich narrative world.” —Kristina M. Olson, George Mason University “Boccaccio… is unsurpassed in the illuminating perspective from which he explores the variety of dramas of his characters in their day to day interactions,… [and this] rendition of the Decameron is extraordinary: it breathes fresh life into this classic of world literature.” —Giuseppe Mazzotta, Sterling Professor in the Humanities for Italian, Yale University “The translators have provided a smart and engaging selection of the best tales of the Decameron. Their lively prose translation successfully captures the oral scene of storytelling that is central to the book while still attending to important specifics of Boccaccio’s language. A carefully conceived collection of secondary readings completes this volume, which will allow readers to enjoy Boccaccio’s masterpiece from a variety of perspectives.” —Michael Sherberg, Washington University Table of Contents Acknowledgments Introduction from The Decameron The Author’s Preface Introduction to the First Day The First Day I. Story 1: Cepparello’s False Confession I. Story 2: The Jew who Sees Rome and Converts I. Story 3: Melchisedech and the Tale of the Three Rings I. Story 5: The King of France and the Banquet of Hens I. Story 10: Master Alberto Shames the Woman who Refuses his Love Conclusion to the First Day The Second Day II. Story 5: Andreuccio’s Three Misadventures in Naples II. Story 7: The Sultan’s Daughter Sleeps with Nine Men and Returns a Virgin The Third Day III. Story 1: Masetto becomes Gardener to a Convent III. Story 6: Ricciardo sends a Jealous Wife to the Baths to catch her Husband III. Story 8: Ferondo visits Purgatory III. Story 9: Giletta of Narbonne III. Story 10: Alibech and Rustico put the Devil back into Hell The Fourth Day Introduction IV. Story 1: Tancredi, Ghismunda, and her Lover’s Heart IV. Story 2: Frate Alberto as the Angel Gabriel IV. Story 5: Lisabetta and the Pot of Basil IV. Story 8: The Broken Hearts of Girolamo and Salvestra The Fifth Day V. Story 1: Cimone and Lisimaco Abduct their Brides V. Story 4: The Lovers, the Balcony, and the Nightingale The Sixth Day VI. Story 1: Madonna Oretta and the Story Ride VI. Story 4: Chichibio and the One-legged Bird VI. Story 7: Donna Filippa Confronts the Adultery Laws VI. Story 9: Guido Cavalcanti’s Witty Escape The Seventh Day VII. Story 2: Peronella’s Lover and the Barrel VII. Story 6: A Quick-Thinking Adulteress The Eighth Day VIII. Story 3: Calendrino and the Heliotrope Stone VIII. Story 7: The Scholar Frozen and the Lady Burned The Ninth Day IX. Story 5: Calandrino in Love IX. Story 6: Three Beds and a Cradle IX. Story 10: The Spell that Turns Women to Mares The Tenth Day X. Story 3: Nathan Offers his Life X. Story 5: A Lady’s Honour for a Garden in Winter X. Story 8: The Perfect Friendship of Tito and Gisippus X. Story 10: Griselda’s Remarkable Patience The Author’s Epilogue In Context The Black Death from Marchione di Coppo Stefani, from The Florentine Chronicle (ca. 1389), “Concerning the Black Death in the City of Florence, Mortal to Many People,” The Black Death: fourteenth century images Accounts of Boccaccio’s Life Giannozzo Manetti, “The Life of Giovanni Boccaccio” Ludovico Dolce, “A Description of the Life of Messer Giovanni Boccaccio” (1552) Sources and Antecedents from Apuleius, The Golden Ass: from Book Nine, “The Lover in the Barrel” (c. 160 CE) from Petrus Alphonsus, Disciplina Clericalis, “The Two Perfect Friends,” (12th century) from Andreas Capellanus, The Art of Courtly Love (c. 1180) Anonymous, “Concerning a Priest and a Lady” (13th century) from Anonymous, Il novellino (1281-1300) How a king raised his son in darkness, then revealed to him all there was in the world, and how the boy found women above all things the most pleasing.” “How the Sultan in search of money tried to snare a Jew through litigation.” “The never-ending story.” from Giovanni Boccaccio, The Questions of Love: “The Fourth Question, as proposed by Menedon” (1335-36) The Tale of Patient Griselda from Francesco Petrarch, Letter to Boccaccio on “The Tale of Patient Griselda” (1373) Anonymous, “A Most Pleasant Ballad of Patient Grissell” (ca. 1600) Patterns of Influence from Sir Thomas Elyot, The Book Named the Governour: from Bk. II, Chap. 12, “The Wonderful History of Titus and Gisippus, whereby is fully declared the figure of perfect amity.” (1531) from Giovan Francesco Straparola, The Pleasant Nights (Piacevoli notti) (1550, 1553) from the Proem Rodolino and Violante, or The Broken Hearts Illustrations to the Decameron

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Book SynopsisBenito Cereno, a story of atmospheric Gothic horror and striking political resonance, represents Herman Melville's most profound and unsettling engagement with the horrors of New World slavery. Narrating the story of a slave revolt using materials drawn from Amasa Delano's non-fictional account of the Tryal Rebellion from earlier in the nineteenth-century, Melville's story probes the moral complexities of the antebellum United States and its position within the Americas. Melville explores the psychology of slavery and racism and role of violence in both resistance to slavery and the perpetuation of slavery in the Americas. The appendices to this volume illustrate how Melville's satirical treatment of racism and his ambivalent response to violent resistance to slavery connect with antislavery literature (poetry, fiction, and non-fiction alike) in the middle of the nineteenth century, and they also consider how Benito Cereno functions as a central piece in Melville's contribution to the literature of the Americas.Trade Review“The Broadview Press edition of Herman Melville’s ‘Benito Cereno’ is vital for teaching, research, and exploring the power of American short fiction. From abolitionist writings to texts about the Haitian Revolution to reflections by Melville’s contemporaries, Brian Yothers has reassembled crucial materials for a profound journey into Melville’s fictional universe. Whether you are interested in the historical context that inspired Melville or the philosophical questions that saturate his art, this captivating edition contains all of the major materials and literary artifacts. If you’re teaching, rereading, or even discovering ‘Benito Cereno’ for the first time, this edition is a fresh and fully updated take on Melville’s classic.” — Christopher Freeburg, University of Illinois, Urbana-ChampaignTable of Contents Appendix A: Representations of Slave Revolt and the Slave Trade From Amasa Delano, Narrative of Voyages and Travels in the Northern and Southern Hemispheres (1817) From Frederick Douglass, “The Heroic Slave” (1853) From John Quincy Adams, Argument of John Quincy Adams Before the Supreme Court of the United States, in the Case of United States, Appellants, Cinque, and Others, Africans (1841) From Frederick Douglass, My Bondage and My Freedom (1855) From Harriet Beecher Stowe, Dred, A Tale of the Great Dismal Swamp (1856) From The Confessions of Nat Turner (1832) Am I Not a Man and a Brother (1787) Stowage of the British Slave Ship Brookes under the Regulated Slave Trade Act of 1788 The Slave Deck of the Bark “Wildfire,” Brought into Key West on 30 April 1860 The Abolition of the Slave Trade Cinque, the Chief of the Amistad Captives Appendix B: Herman Melville on Race, Slavery, Colonialism, and Violence From Herman Melville, Typee (1846) From Herman Melville, “Mr. Parkman’s Tour,” New York Literary World (31 March 1849) From Herman Melville, “A Bosom Friend,” in Moby-Dick, or, The Whale (1851) From Herman Melville, “Midnight, Forecastle,” in Moby-Dick, or, The Whale (1851) Herman Melville, “Formerly a Slave,” in Battle-Pieces and Aspects of the War (1866) Herman Melville, “The Swamp Angel,” in Battle-Pieces and Aspects of the War (1866) From Herman Melville, Supplement to Battle-Pieces and Aspects of the War (1866) From Herman Melville, Clarel, A Poem and Pilgrimage in the Holy Land (1876) Appendix C: The Haitian Revolution and the Black Legend John Greenleaf Whittier, “Toussaint L’ouverture” (1833) William Wordsworth, “Toussaint L’ouverture” (1802) From Frank J. Webb, The Garies and Their Friends (1857) Toussaint Louverture From Daniel Defoe, The Life and Strange Suprizing Adventures of Robinson Crusoe (1719) From James Montgomery, “The West Indies” (1810) Appendix D: Anti-Slavery Rhetoric and Poetry From Frederick Douglass, “What to the Slave is the Fourth of July” (5 July 1854) Frederick Douglass, “A Parody,” in Narrative of the Life of Frederick Douglass (1845) Elizabeth Barrett Browning, The Runaway Slave at Pilgrim’s Point (1849) James Russell Lowell, “The Present Crisis” (1844) James M. Whitfield, “To Cinque” (1853) James M. Whitfield, “Lines on the Death of John Quincy Adams” (1853) James M. Whitfield, “America” (1853) Frances E.W. Harper, “The Slave Mother. A Tale of the Ohio” (1857) Harriet Beecher Stowe, “Caste and Christ” (1853) From Lydia Maria Child, An Appeal in Favor of that Class of Americans Called Africans (1833) Lydia Maria Child, “The Influence of Slavery with Regard to Moral Purity” (1838) Lydia Huntley Sigourney, “To the First Slave Ship” (1827) Appendix E: Melville and the Theory of Short Fiction From Herman Melville, “Hawthorne and his Mosses” (1850) From Edgar Allan Poe, Review of Nathaniel Hawthorne’s Twice-Told Tales (1842) Review of The Piazza Tales, United States Democratic Review (September 1856) Nathaniel Hawthorne, Preface to The House of the Seven Gables (1852)

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Book SynopsisThis edition brings together Tolstoy’s 1886 masterpiece and several shorter works that connect with it in thought-provoking ways. The stories are accompanied by a fascinating selection of contextual materials, including nineteenth-century reviews, excerpts from Tolstoy’s letters concerning death, excerpts from a pamphlet he wrote after witnessing the slaughtering of livestock, and a portfolio of relevant photographs. As well as crafting fresh translations both of the stories themselves and of the background materials, Kirsten Lodge has provided an illuminating introduction and helpful annotations.Trade Review“Brilliantly conceived and executed, this slender volume should hold great appeal to both teachers of literature and students of life… In her masterful translation, Lodge captures the writer’s full stylistic register, from his quiet lyricism, lucid metaphors, fleshy descriptions, and arresting juxtapositions to his at times torturous syntax, defamiliarizing word choice, and scathing, mirthless wit. Like his contemporaries, modern readers cannot help but marvel at the range and originality of Tolstoy’s experiments in the literature of death, from the felling of a tree at the close of ‘Three Deaths’ to the dark inner worlds of characters drawing their last breath. Lodge’s inclusion of ‘Strider’—a short story told from the perspective of a dying horse—feels especially timely in light of the recent turn in literary criticism toward animal studies… Taken together, Lodge’s selections from Tolstoy’s oeuvre form a sort of modern dance macabre in which death, indifferent and inhuman, fells not only sinners from all stations of life but also plants, animals, self, and other. As her volume amply demonstrates, Tolstoy—more than a century after his own storied death at the Astapovo train station—remains as vital as ever.” — Jefferson J.A. Gatrall, Montclair State University“Kirsten Lodge’s translation is neat and efficient; she doesn’t mind phrasings that would not, in 1886 in English, have been used and I don’t mind either (for example “goofed up,” p. 21). The voice is steady and un-self-conscious and not bookish or cautious or twisted by Russian grammar or syntax.” — Bob Blaisdell, The Russian ReviewCOMMENTS on Kirsten Lodge ’s edition of Notes from the Underground:“… superlative in all respects. It offers an excellent translation, highly readable yet always faithful to the original, as well as essential supplementary materials that make it by far the easiest edition to teach from.” — Michael Wachtel, Princeton University“Kirsten Lodge’s important new edition of Dostoevsky’s Notes from the Underground offers readers a dazzling collection of contexts, sources, and images for Dostoevsky and his novel, all of which will be indispensable for students and general readers alike.” — Robin Feuer Miller, Brandeis University“For years I have taught these classic Russian texts [Tolstoy’s The Death of Ivan Ilyich, Dostoyevsky’s Notes from the Underground, and Zamyatin’s We] to students with little or no knowledge of Russian language or culture. In addition to providing clear, readable translations of the texts themselves, Lodge’s editions provide critical apparatus—introductions, notes, secondary texts, and images—that have made these stories much more accessible to my students. Contextual material that I have long had to put in handouts and powerpoints is now conveniently included in the text itself. These are certainly the most teachable editions of these texts currently available.” — Chad Engbers, Calvin UniversityTable of Contents Introduction The Death of Ivan Ilyich Strider Three Deaths In Context Killing Animals, Eating Animals from Leo Tolstoy, The First Step from Howard Williams, Preface to The Ethics of Diet: A Catena of Authorities Deprecatory of the Practice of Flesh-Eating (1882) From Tolstoy’s Letters Concerning Death Letter of Oct. 17, 1860 to Afanasy Fet (on the death of Tolstoy’s brother Nikolai from tuberculosis Letter of May 1, 1868 to Aleksandra Tolstaya, Tolstoy’s grandmother (on “Three Deaths”) Other Writings by Tolstoy from Leo Tolstoy, Childhood, Chapter 27: Grief (1852) from Leo Tolstoy, Anna Karenina (1878 from Leo Tolstoy, Confession (1879) from Leo Tolstoy, “Notes of a Madman” (unfinished; begun in 1884 and published posthumously) Critical Reception from Nikolai Leskov, “On the Kitchen Muzhik and Other Matters: Notes on Certain Reviews of Count Leo Tolstoy’s Work” (1886) from Dmitry Pisarev, “‘Three Deaths’: A Story by Count Leo Tolstoy” (1859) Nineteenth-Century Images

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Book SynopsisFollowing the success of Robinson Crusoe, Daniel Defoe wrote a new fiction, the story of an English pirate whose success eclipsed every buccaneer the Atlantic world had seen. Featuring a haunted, unreliable narrator, a daring trek across the continent of Africa, and mercantile adventures in the China Seas, Captain Singleton is a tale of loneliness, brotherhood, and the lust for profit.Appendices to this Broadview Edition include materials on pirate writing, travel writing, and earlier pirate tales that may have provided models for Captain Singleton.Trade Review“Manushag Powell’s excellent edition of Captain Singleton fills a need for teachers and students of Defoe and the eighteenth-century novel, since there is no widely available edition of this important work. Powell’s introduction is informative about Defoe and about the eighteenth century’s fascination with pirates. Her copious annotation of the text is judicious; the supplementary readings of other pirate and travel narratives from the period provide very useful contexts for Defoe’s novel.” — John Richetti, University of Pennsylvania, Emeritus“Captain Singleton, while fascinating, is in many ways a bewildering text for twenty-first-century readers. Rather than attempt to tame it, Powell expertly guides us into its most perplexing and ambiguous aspects, helping us see how fictional projects depart from historical ones, even as fiction and history inform each other. By refusing to resolve the text’s ‘narrative enigmas,’ the introduction urges us toward thinking critically and imaginatively about the tale’s more challenging components. This edition presents Singleton as an opportunity to practice ways of reading that will give readers purchase on a wide array of eighteenth-century prose fictions.” — Eugenia Zuroski, McMaster University“I can think of nobody better than pirate expert Manushag Powell to edit Defoe’s ripping yarn of the adventures of Captain Bob Singleton, pirate extraordinaire. Her well-judged introduction provides generous intellectual context for new readers of this absorbing novel of global travel and international trade. The excitement and possibilities, as well as the consequences, of European expansionism are brought to readers’ attention through Powell’s inclusion in her appendices of a series of short extracts from the experiences of other eighteenth-century travellers. By using this excellent new edition, students and teachers alike will be able not only to appreciate the importance of Captain Bob within his eighteenth-century context, but also to understand his place in the history of pirate lives and literature.” — Claire Jowitt, University of East Anglia“There is copious contextual grounding in Manushag Powell’s excellent edition, with meticulously informative notes that will intrigue even the most blasé undergraduate.” — Min Wild, Times Literary Supplement“Manushag N. Powell’s carefully edited and meticulously researched edition does an outstanding job of combining interpretive lens and pedagogical glossing. … Powell’s edition will introduce generations of students to one of Defoe’s most wide-ranging adventure stories.” — Srividhya Swaminathan, Eighteenth Century FictionTable of Contents APPENDICES Appendix A: The Test-Run(?) for Singleton The King of Pirates: Being an Account of the Famous Enterprises of Captain Avery, the Mock King of Madagascar (1719) Appendix B: Pirate Writing From The Life of Charlotta Du Pont, an English Lady (Penelope Aubin, 1723) Letter from James Aubin to Abraham Aubin, protesting his treatment by pirates (1720) Some Memoirs Concerning that Famous Pyrate Capt. Avery (1708) From The Life and Adventures of Capt. John Avery (1709) From A General History of the Robberies and Murders of the Most Notorious Pyrates (1724) From Daniel Defoe, A Review of the State of the British Nation (1707) Appendix C: Travel Writing From Robert Knox, An Historical Relation of the Island Ceylon (1681) From Madagascar: Or, Robert Drury’s Journal (1729) From Willam Bosman, A New and Accurate Description of the Coast of Guinea (1705) From William Dampier, A New Voyage Round the World (1697) From Woodes Rogers, A Cruising Voyage Round the World (1712) From Herman Moll, Atlas Geographus (1711–17)

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Book SynopsisAs George Orwell wrote in 1940, “Everyone who has ever read When the Sleeper Wakes remembers it.” Graham, the “sleeper” of the title, falls into a cataleptic trance in 1897. Graham will survive on life support for 203 years, suddenly waking in 2100. He wakes to a London encased in a glass dome, in which the Victorian class system has hardened into castes and a revolution is brewing. An important influence on later dystopian novels, Sleeper is a deeply pessimistic book, although Wells could not resist an ending ambiguous enough to permit the reader a faint gleam of optimism. The novel was re-written and published in 1908 as The Sleeper Awakes, but this edition preserves the original version. Historical appendices include contemporary reviews, Henri Lanos illustrations from The Graphic, and other utopian fiction from the period.Trade Review“In his masterly introduction to H.G. Wells’s 1899 novel When the Sleeper Wakes, John Sutherland amply demonstrates its enduring relevance to the contemporary reader, even though it is one of Wells’s lesser-known works. Sutherland’s assessment of the novel is not only extraordinarily erudite and informative but also witty and immensely readable. He provides a lively biography of Wells alongside an appraisal of the novel that is brim-full of fascinating contextual detail and penetrating critical observations. The appendices offer an invaluable historical background to the novel’s inspiration, reception, and film adaptations, as well as reproductions of the fabulous illustrations accompanying the serialization in The Graphic. The two Prefaces and the “Afterword” give us a unique personal glimpse into the development of Wells’s ideas and his writing processes. For any fan or scholar of Wells, this is a much-needed, exemplary revisiting of his tale of time travel.” — Linda Dryden, Edinburgh Napier University“John Sutherland has produced a knowledgeable, classroom-friendly edition of one of the lesser-known masterpieces of Wells’s scientific fantasies. When the Sleeper Wakes brims with some of Wells’s most prophetic technological inventions and radical political ideas, all of which are expertly discussed and contextualized in Sutherland’s introduction, notes, and appendices.” — Jeremy Withers, Iowa State University“… this novel deserves to be studied by a larger audience, and John Sutherland is well suited to the task of helping to bring When the Sleeper Wakes to more readers. … this is another commendable volume by Broadview Press. This Canadian publisher continues to produce high-quality, classroom-friendly, affordable editions of many literary works, and their roster of texts by H. G. Wells is now up to half a dozen titles. … One can only hope that we continue to see more Wells volumes published by this press.” — Jeremy Withers, The WellsianTable of Contents Appendix A: Contemporary Reviews 1. Wesleyan-Methodist Magazine (June 1900) 2. Athenæum (3 June 1899) 3. “Prophet vs. Novelist,” Academy (10 June 1899) 4. New York Times, 18 August 1899 Appendix B: Two Prefaces and an “Afterword” 1. Preface to the 1910 Edition 2. Preface to the 1921 Edition 3. From Experiment in Autobiography (1934) Appendix C: Illustrations by Henri Lanos 1. The Graphic, no. 1529 (21 January 1899) 2. The Graphic, no. 1529 (4 February 1899) 3. The Graphic, no. 1529 (25 February 1899) 4. The Graphic, no. 1529 (29 April 1899) Appendix D: Utopian Quarrels 1. From W.H. Hudson, A Crystal Age (1887) 2. From William Morris, News from Nowhere (1891) 3. From Edward Bellamy, Looking Backward (1889) Appendix E: Film Versions of When the Sleeper Wakes

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Book SynopsisThe prose fiction of Penelope Aubin offers a delightful and provocative challenge to many of our standard ways of thinking about both the 'rise of the novel' and early women writers. Aubin's fast-paced narratives highlight the persistence and vitality of romance as a form of storytelling and the centrality of teenaged girls to tales that extend far beyond the domestic and amatory modes with which they have traditionally been associated. Aubin's resourceful heroines and the often spectacular violence they engage in in order to defend their lives and bodily integrity allow us a more expansive and exciting view of early-eighteenth-century fiction than the current classroom canon often permits. In narratives spanning the globe and featuring pirates, North African corsairs, Jacobites, shipwrecks, and seraglios, Aubin delivers fiction with roots that go back to antiquity and commitments that feel far more modern than most other texts from the period.Supplementary materials include selections from Aubin's other work in which she reflects upon her craft and the two documents most responsible for the posthumous distortion of her reputation.Trade ReviewJust try to read this Broadview Edition of Penelope Aubin's fiction without pumping your fist in the air. Aubin's work is ripe for revisiting, and David Brewer's sharp and accessible introduction will make her texts newly available to readers. He gives us a fresh look at Aubin, highlighting her theory of fiction and her embrace of kick-ass teenage girls. His judicious and accessible annotations provide students with important historical context and help with tricky vocabulary. I look forward to teaching this edition to majors and non-majors alike." - Stephanie Insley Hershinow, Baruch College, City University of New York"It's a delight to have two of Penelope Aubin's extravagant and wondrous works available in such a superb and useful edition. Though neglected and even despised by literary historians of the novel, Aubin's fictions are compelling examples of the important and immensely popular river of adventure stories that flowed throughout early modern Europe. David Brewer's excellent introduction and well-curated supporting documents will help students and scholars reassess Aubin's supposedly 'bad' novels within a broader, more expansive global history of 'badass' fiction." - Scott Black, University of Utah"Penelope Aubin's wild, violent, thoroughly unembarrassed writing is one of the great hidden treasures of eighteenth-century literature. David Brewer has prepared a wonderfully clear-eyed and informative edition of two of her most teachable works. Aubin, who led a life touched by merchants, dissolute noblemen, and the occasional pirate, was so threatening to the establishment that a literary rival tried to proclaim she was dead years before her time. Her reputation suffered, however, when she was declared preemptively virtuous, thereby depriving generations of readers of her irreverent pleasures. This welcome edition goes a long way towards setting things right." - Manushag Powell, Purdue UniversityTable of ContentsAcknowledgementsIntroductionPenelope Aubin: A Brief ChronologyA Note on the Texts A Note on MoneyThe Life of Madam de BeaumountThe Life of Charlotta Du PontAppendix A: Aubin Theorizing Her Own Work From Penelope Aubin, The Strange Adventures of the Count de Vinevil and His Family (1721) From Penelope Aubin, The Noble Slaves (1722) From Penelope Aubin, The Life and Adventures of the Lady Lucy (1726) From Penelope Aubin, The Illustrious French Lovers (1727), translation of Robert Challes, Les Illustres Françoises (1713) From Penelope Aubin, The Life and Adventures of the Young Count Albertus (1728) From Penelope Aubin, The Life of the Countess de Gondez (1729), translation of Marguerite de Lussan, Histoire de la comtesse de Gondez (1725) Appendix B: Reshaping Aubin’s Reputation 1. From Antoine François Prévost d’Exiles, Le Pour et contre (27 September 1734) 2. From Penelope Aubin, A Collection of Entertaining Histories and Novels (1739) Works Cited and Select Bibliography

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Book SynopsisYevgeny Zamyatin’s novel We is one of the great classics of dystopian fiction. Experimental and provocative in both style and content, it was the first major literary work to be banned in the Soviet Union. This critical edition features an entirely new annotated translation, as well as an introduction, contextual materials, and images related to the text. Trade Review“This new translation of Zamyatin’s We is very well done. Kirsten Lodge has managed very skilfully to produce a readable version of a novel that is in parts deliberately jerky and elliptical in the original; she has found imaginative solutions to the various tricky problems that the text presents. … The introduction and the contextual materials are also useful; this is an edition that introduces the reader to the artistic and historical context as well as to the text itself.” — J.A.E. Curtis, University of Oxford “Kirsten Lodge’s new edition of Zamyatin’s We is ideal for the classroom: an excellent new translation accompanied by carefully chosen readings and images that place the novel within its proper context.” — Eliot Borenstein, New York University “Kirsten Lodge has created a teacher’s dream: a definitive English-language edition of Zamyatin’s We that also includes the key texts—literary, political, philosophical, and industrial—to which Zamyatin was responding in this seminal dystopian novel. Lodge’s informative, accessible introduction provides just the right amount of context, explaining how the novel came to be, why it was so groundbreaking, and how it has inspired other dystopian authors from Orwell to Atwood. Lay readers will enjoy delving deeper into the significance of the novel, and teachers will rejoice to have these resources at their students’ fingertips in Lodge’s vivid, readable translations. I look forward to assigning this book in my classes.” — Rebecca Stanton, Barnard College “For years I have taught these classic Russian texts [Tolstoy’s The Death of Ivan Ilyich, Dostoyevsky’s Notes from the Underground, and Zamyatin’s We] to students with little or no knowledge of Russian language or culture. In addition to providing clear, readable translations of the texts themselves, Lodge’s editions provide critical apparatus—introductions, notes, secondary texts, and images—that have made these stories much more accessible to my students. Contextual material that I have long had to put in handouts and powerpoints is now conveniently included in the text itself. These are certainly the most teachable editions of these texts currently available.” — Chad Engbers, Calvin UniversityTable of Contents Introduction The Context of We Literary Approaches to We A Note on the Text and Translation WeIn Context Work, Productivity, and “Scientific Management” from Frederick Winslow Taylor, The Principles of Scientific Management (1911) from Vladimir Lenin, The Immediate Tasks of the Soviet Governement (1918) from Aleksei Gastev, On the Tendencies of Proletarian Culture (1919) Proletarian Poetry Vladimir Kirillov, "We" (1917) Aleksei Gastev, "We Grow Out of Iron" (1918) Aleksei Gastev, “Whistles” (1918) Aleksei Gastev, “To a Speaker” (1919) Vladimir Kirillov, “The World Collective” (1918) Ivan Logimov, “We Are the First Peals of Thunder” (1919) Aleksei Mashirov-Samobytnik, “Follow Us!” (1919) Vasily Aleksandrovsky, “Workers’ Holiday” (1921) H.G. Wells from H.G. Wells, Anticipations of the Reaction of Mechanical and Scientific Progress upon Human Life and Thought, Chapter 9: “The Faith, Morals, and Public Policy of the New Republic” (1901) from H.G. Wells, “Scepticism of the Instrument” (1903) from H.G. Wells, A Modern Utopia (1905) Early Reception from Aleksandr Voronsky, “Literary Portraits: Eugene Zamyatin” (1922) Zamyatin on We from Yevgeny Zamyatin, “On Literature, Revolution, Entropy, Etc.” (1923) Images Early Twentieth-Century Art Early Soviet Posters Images of Zamyatin

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Book SynopsisQueen Eleanor and Fair Rosamond—among the most compelling and thought-provoking of Margaret Oliphant’s works of short fiction—tells the story of Mr. and Mrs. Lycett-Landon, “two middle-aged people in the fullness of life and prosperity,” and of what becomes of their marriage when Mr. Lycett-Landon becomes uncommunicative while on an extended business trip.In addition to an illuminating introduction, this edition includes a variety of background materials that help to set this extraordinary work in its literary and historical context.Trade Review“This welcome edition of Queen Eleanor and Fair Rosamond allows readers to experience, perhaps for the first time, Margaret Oliphant’s exquisite skill at depicting ‘marriage [as] a tie which is curiously elastic.’ The novella is one of Oliphant’s many little-known shorter works which explore the ambiguity and psychological complexity of the relations between the genders with a sensitivity that anticipates the novels of Henry James. … Pam Perkins’s edition provides a perfect frame for the novella—an introduction to Oliphant’s life and works, excerpts from other literary tales of Eleanor and Rosamond, selections from bigamy laws and novels of the period that deal with bigamy, contemporary reviews, and contextual background for the novel’s sophisticated representations of class relations, suburbia, and its setting in London and Liverpool.” — Elsie Michie, Louisiana State University“Margaret Oliphant’s works are hard to come by, so for this reason alone Pam Perkins’s edition of Queen Eleanor and Fair Rosamond is valuable. It is made substantially the more so by Perkins’s clear and helpful annotations and her illuminating and insightful introduction, situating the novella within the framework of contemporary fictional representations of bigamy while also highlighting Oliphant’s unique attention to issues of gender and class. … This is an admirable edition, relevant to those who know Oliphant as well as those encountering her for the first time.” — Emily Morris, St. Thomas More College, University of Saskatchewan“It is very good to have one of Margaret Oliphant’s later short stories published in the form of an accessible student text, accompanied by contextual material which helps to explain the significance of her take on the recurrent Victorian subject of bigamous marriages. Long remembered only for her successful mid-century ‘Chronicles of Carlingford’ and her 1862 essay ‘Sensation Novels,’ … [Oliphant here] offers an extraordinary insight into the emotional cost that might be demanded in preserving her long-held belief in the virtue of female self-sacrifice.” — Elisabeth Jay, Oxford Brookes UniversityTable of Contents The Legend of Fair Rosamond from “Fair Rosamond,” Thomas Percy, Reliques of Ancient English Poetry (1765) from Mary Russell Mitford, Dramatic Scenes, Sonnets, and Other Poems (1827) from Pierce Egan, Fair Rosamond, An Historical Romance (1844) Bigamy Laws Section 22, Offences against the Person Act (1828) Section 57, Offences against the Person Act (1861) Bigamy in Sensation Novels from Wilkie Collins, The Two Destinies (1876) from Mary Elizabeth Braddon, Phantom Fortune (1883) Contemporary Reactions to Queen Eleanor and Fair Rosamond from “Magazines for January,” “Magazines for February,” The Sunday Times (1886) from “Cornhill Magazine (January, February, March),” The London Quarterly and Holborn Review (1886) from “Recent Short Stories,” The Spectator (1898) J.M. Barrie on Oliphant and on “Queen Eleanor and Fair Rosamond” J.M. Barrie, Introductory Note to The Widow’s Tale and Other Stories (1898) Victorian London and Liverpool from Isabella Beeton, The Book of Household Management (1861) from George and Weedon Grossmith, Diary of a Nobody (1888-9) from Black’s Guide to Liverpool and Birkenhead (1871) Images of Liverpool

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Book SynopsisIn this 1874 novella, the celebrated British writer of sensation fiction tells the tale of two brothers sentenced to be executed for having committed a murder that never occurred, and of the efforts of the energetic Naomi Colebrook to ferret out the truth and save the two innocents. As editor Anna Clarke observes, Collins' work is both a compelling legal sensation thriller and an important transatlantic commentary on American life. Along with the text itself and an illuminating introduction, Clarke provides a range of background materials-including documents from the real-life Boorn murder trial that inspired the novella-in order to set the work in its historical context.Trade Review“This is a timely re-examination of Wilkie Collins’s The Dead Alive. Anna Clark has situated Collins’s novella within its nineteenth-century context in terms of the Boorn murder trial, which inspired its plot, and other contemporary materials, including reviews and illustrations. The introduction provides a clear overview of Collins’s work, as well as of the text under consideration, which makes this volume useful for both scholars and students. This is a welcome and exciting addition to Broadview’s indispensable Victorian literature series.” — Joanne Ella Parsons, Falmouth University“Wilkie Collins’s The Dead Alive is an incredibly teachable novella, and Anna Clark’s introduction helpfully situates it within a range of historical contexts. This little-known text—advertised as Collins’s ‘first American story’ and based on an actual 1819 Vermont trial—is distinct within Collins’s oeuvre. The bold Naomi Colebrook prefigures Collins’s detective-heroine Valeria Woodville in The Law and the Lady but is also depicted as a uniquely American heroine. The contextual material that Clark provides, including reviews and reports of the real-life trial, position The Dead Alive as a significant experiment in transatlantic, legal, and sensational writing.” — Tara MacDonald, University of IdahoTable of Contents Introduction William Wilkie Collins The Dead Alive in Context A Note on the Text The Dead Alive In Context The Boorn Murder Trial from Leonard Sargent, The Trial, Confessions and Conviction of Jesse and Stephen Boorn, for the Murder of Russell Colvin, and the Return of the Man Supposed to Have Been Murdered (1873) from Documents of the Assembly of the State of New York, Seventieth Session, "Report of the Select Committee on the Abolishment of Capital Punishment" (5 March 1847) from Lemuel Haynes, "The Prisoner Released. A Sermon delivered at Manchester, Vermont, Lord's Day, Man. 9th, 1820, on the remarkable interpositin of Divine Providence in the deliverance of Stephen and Jesse Boorn, who had been under sentence of death for the supposed murder of Russell Colvin." In Sketches of the Life and Character of Rev. Lemuel Haynes, A.M., by Timothy Mather Cooley (1837) On the American Character from Alexis de Tocqueville, "Of the Principal Source of Belief Among Democratc Nations," Democracy in America, vol. 2, trans. Henry Reeve (1841) from Charles Dickens, American Notes (1842) American Reviews from "The Dead Alive" (Review), Cincinnati Daily Enquirer (4 January 1874) from "New Publications" (Review of The Dead Alive), Christian Watchman (5 February 1874) from "Literariana" (Review of The Dead Alive), The Daily Graphic (18 February 1874) from "New Publications" (Review of The Dead Alive), The Christian Register (21 February 1874) from "Novels of the Week" (Review of The Frozen Deep, and Other Stories), The Athenaeum (21 November 1874) Advertising, Illustrations from The Commercial Advertiser (3 January 1874) Illustrations from Shepard and Gill edition of The Dead Alive Acknowledgments

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Book SynopsisThe great-grandmother of Downton Abbey, Barford Abbey is among the first of a new genre of 'abbey fictions.' Using the abbey as a site and a question mark, Susannah Minifie weaves a story of new and broken relationships, of change and fear of change, and of heredity and inheritance. Here the abbey becomes a symbol not simply tied to the gothic but a setting for social dramas that prefigures the realist novels of the nineteenth century. In two compact volumes, the novel achieves innovations in narrative manner and style. Barford Abbey may seem to offer the consolations of melodrama and the comforts of marriage, but the balance of the novel reminds us that parts of life can sometimes be left out, and that life's losses cannot genuinely be recovered.Trade ReviewSusannah Minifie Gunning's Barford Abbey is delightful reading, both for its fast-paced epistolary immediacy and for the light it sheds on the more famous novels that it prefigures. Inaugurating what the editors call 'abbey fiction,' Barford affords a deeper understanding of the English novel in the transitional years between Fielding, Richardson, and Sterne, on the one hand, and Burney, Smith, and Austen, on the other. Doody and Milberger introduce us as well to a prolific but little-known woman writer with a fascinating and ultimately scandalous history, whose later novels contributed to the popular series published by the Minerva Press. The return of Barford Abbey to print in this richly annotated edition is a welcome occasion for students and scholars alike." - Susan S. Lanser, Brandeis University"In this excellent edition, Margaret Doody and Kurt Milberger recover an important early contribution to a tradition of literary commentary on England's religious past. Ruined abbeys or those transformed into the houses of the wealthy appear quite frequently in poetry and novels in the late-eighteenth and early nineteenth-centuries, most famously in the works of Jane Austen, William Wordsworth, and Lord Byron. Long before these writers, however, Susannah Minifie Gunning recognized the usefulness of an abbey setting for raising complicated questions about the social, economic, and political character of English culture. With a detailed introduction and a rich collection of contextual materials, including excerpts from sixteenth-century documents, eighteenth-century historical works, and contemporary literature, this edition is an invaluable resource for students and scholars as well as anyone interested in Jane Austen's literary forebears." - Roger E. Moore, Vanderbilt UniversityTable of Contents Appendix A: 'Writing to the Moment': The Epistolary Style 1. Daniel Defoe, From Tour thro' the Whole Island of Great Britain (1724-27) on the London Post Office 2. Samuel Richardson, From Letters Written To and For Particular Friends, on the Most Important Occasions, 1741 3. Samuel Richardson on 'Writing to the Moment' in the 'Preface' to Clarissa, 1748 4. Samuel Johnson, The Rambler, No. 152, 31 August 1751 on Epistolary Style 5. Rev. John Trusler, 'The PENNY-POST.' From The London Advisor and Guide, 1786 Appendix B: The Dissolution of the Abbeys 1. An Act for the Dissolution of the Lesser Monasteries, 1535 2. William Camden, From Britannia, 1586 [Gough Edition, 1789] 3. David Hume, From The History of England: Under the House of Tudor, 1759 Edition Appendix C: The Picturesque Abbey as Ruin or Great Mansion 1. George Keate, The Ruins of Netley Abbey, 1764 2. William Gilpin, On Glastonbury and Ford Abbey, From Observations on the Western parts of England, 1798 3. Walter Scott, From Lay of the Last Minstrel, 1805 Appendix D: Abbey Fictions 1. Charlotte Smith, From Ethelinde, 1789 2. Regina Maria Roche, From The Children of the Abbey, 1796 3. Jane Austen, From Northanger Abbey, 1817 4. George Gordon, Lord Byron, From Don Juan, 1819 Appendix E: The Reception of Barford Abbey the Writing of Susannah Minifie Gunning 1. Review of Barford Abbey from The Critical Review, Vol. 24, 422-30, edited by Tobias Smollet, 1767 2. Review of Minife's Coombe Wood from The British Magazine and Review, Vol. 2, 127-128, 1783 3. Excerpt of a review of Gunning's poem Virginius and Virginia published in the Critical Review, vol. 5, 1792

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Book SynopsisCastle Rackrent—Maria Edgeworth’s first novel, and the work for which she was and is best known—occupies a most unusual place in the history both of Irish literature and of English-language fiction. It has sometimes been called the first historical novel in English literature, yet in its tone it more closely resembles a comedy of manners than anything in the genre that has come to be known as “the historical novel.” It has been identified as the first of other lines as well—the first English novel written in a non-standard dialect, the first “provincial” or “regional” novel, and the first in what developed into the “big house” tradition of novels focused on the lives of the Anglo-Irish Protestant landholding class that dominated much of Ireland for centuries. Its innovative use of an unreliable narrator makes it also, arguably, an important milestone in the development of the novel form as a whole. Castle Rackrent chronicles the declining fortunes and ultimate ruin of the Rackrent family through the mishandling of their estate by a series of incompetent and irresponsible heirs. Edgeworth attested in a letter she wrote years later that “the only character drawn from the life” in the novel is Thady Quirk (servant to the Rackrent family, and the novel’s narrator). But the novel as a whole is grounded in real events—the careless landlords and the “middle men who grind the face of the poor” described in Edgeworth’s fiction were very real in eighteenth-century Ireland.This edition does more than any other to set this classic novel in the political, economic, and religious context of eighteenth- and early nineteenth-century Irish life; in addition to an illuminating introduction, the edition includes a variety of background historical materials.Trade Review“This new edition of Maria Edgeworth’s best-known fiction of Irish life will be warmly welcomed. A lively and informative introduction sketches Edgeworth’s life and times, and outlines the central questions posed by this witty philosophical tale. A skillfully accomplished summary of the historical and political background to the novel is followed by useful selections from contemporary sources, including Arthur Young’s scathing exposé of corrupt landlordism, and Theobald Wolfe Tone’s ‘Argument on Behalf of the Catholics of Ireland,’ a polemic that does much to show how the 1798 United Irishmen uprising emerged out of the exploitation identified by Young. Other extracts from contemporary documents focus on the misgovernment by the Anglo-Irish Protestant ascendancy echoed in Edgeworth’s tale of chaotic local tyrants. This edition is a valuable resource both for students of Edgeworth and general readers encountering her, and eighteenth-century Irish life, for the first time.” — Susan Manly, University of St Andrews“The introduction to Broadview’s welcome new edition sets the novel in the context of Edgeworth’s career and its subsequent reception. The ‘In Context’ section furnishes the reader with contemporary reviews and texts from the times concerning Irish social and political conditions, particularly relating to the 1798 rebellion which led to the legislative union.” — Professor James H. Murphy, Director of Irish Studies, Boston College“This valuable new edition sets the book in its historico-political context with excerpts from influential works by contemporary authors…. Edgeworth’s work is so valuable because it traverses the obvious faultlines in Irish political and social life. Helpfully, the edition also includes excerpts from reviews at the time of its publication, demonstrating how the meaning of Edgeworth’s novella continued to be interpreted and reinterpreted in so many different ways.” — John Bew, Professor of History and Foreign Policy, King’s College London“The introduction provides a concise overview of Edgeworth’s critical neglect and literary merit as well as clearly outlining the challenges of reading a novel of ‘Irish’ manners by an Anglo-Irish writer. The contextual materials invaluably elucidate the political and economic injustices faced by the Irish as well as the English and Anglo-Irish prejudices justifying the continued religious and cultural oppression of the Irish people.” — Robin Runia, Xavier University of Louisiana“As Walter Allen pointed out in his history of the English novel, Castle Rackent is to Irish literature what Huckleberry Finn is to American literature. This is a fine edition of a classic of the novel in English literary tradition.” — Maureen O. Murphy, Hofstra University“Edgeworth’s Castle Rackrent has always been a strange little novel, a tale of the dissolution of the Rackrent family through their own mismanagement and irresponsibility, told in non-standard dialect by the illiterate Irish steward Thady Quirk. … [T]his welcome edition for the classroom provides an additional layer of useful glosses and illuminating contextual readings.” — Susan Egenolf, Texas A&M University“Though Castle Rackrent is surely one of the shortest novels of its era—certainly in comparison with typical eighteenth- and nineteenth-century door-stoppers—it is also one of the most important, touching on a huge range of issues including British and Irish nationalism, colonial power, marriage and sexuality, religion and its obligations, property ownership, revolution and rebellion. It is also laugh-out-loud funny: Thady Quirk is one of the great unsung narrators of literary history. Julie Nash and her colleagues are to be commended for providing just the right amount of commentary and contextual material to keep any literature class interested and engaged. This is a welcome addition to the Broadview Anthology of Literature and to Broadview’s impressive lineup of Romantic-period editions.” — Alexander Dick, University of British Columbia“This richly informative new edition of Maria Edgeworth’s ironic masterpiece approaches Castle Rackrent in terms of the questions that it still poses. The book supplies a wide array of contextual material, prompting new connections and allowing readers to come to their own conclusions. Students are sure to be drawn to the portfolio of images of Irish housing that accompanies the text. Truly an edition to explore and enjoy.” — Claire Connolly, University College CorkTable of Contents from Arthur Young, A Tour in Ireland, 1776–79 (1780) The Rebellions of 1798 and 1803, and the Acts of Union from Wolfe Tone, “An Argument on Behalf of the Catholics of Ireland” (1791) from The Reading Mercury and Oxford Gazette, 23 July 1798 from “Examination of William James MacNeven before the Secret Committee of the House of Commons, Dublin,” 7 and 8 August 1798 Songs of ‘98 Slievenamon (date unknown) Carroll Malone, “The Croppy Boy” (1845) from Francis Moylan, Letter to Thomas Pelham, 9 March 1799 from Report of a Motion Brought before the Irish House of Commons, as presented in The Aberdeen Journal, 10 March 1800 from Anne Devlin, The Life, Imprisonment, Suffering and Death of Anne Devlin (1851) Letters to The Times Regarding Tithes from Letter to The Times, 14 November 1804 from Letter to The Times, 24 November 1804 Maria Edgeworth on Castle Rackrent, and on the Irish from Maria Edgeworth, Letter to Mrs. Stark (1834) from Maria Edgeworth, An Essay on Irish Bulls (1803) Reviews and Early Nineteenth Century Comments on Castle Rackrent Unsigned Review, Monthly Review (1800) Unsigned Review Notice, The British Critic (November 1800) from anonymous, “Novels Descriptive of Irish Life,” Edinburgh Review 52 (1831) from “Miss Edgeworth’s Tales and Novels,” Fraser’s Magazine for Town and Country 35 (November 1832)

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Book SynopsisThe Great Gatsby is widely regarded as one of the masterpieces of American fiction. It tells of the mysterious Jay Gatsby's grand effort to win the love of Daisy Buchanan, the rich girl who embodies for him the promise of the American dream. Deeply romantic in its concern with self-making, ideal love, and the power of illusion, it draws on modernist techniques to capture the spirit of the materialistic, morally adrift, post-war era Fitzgerald dubbed "the jazz age." Gatsby's aspirations remain inseparable from the rhythms and possibilities suggested by modern consumer culture, popular song, the movies; his obstacles inseparable from contemporary American anxieties about social mobility, racial mongrelization, and the fate of Western civilization.This Broadview edition sets the novel in context by providing readers with a critical introduction and crucial background material about the consumer culture in which Fitzgerald was immersed; about the spirit of the jazz age; and about racial discourse in the 1920s.Trade Review"If The Great Gatsby is, at first glance, an alluring but relatively simple tale, it eventually settles on our consciousness as an almost miraculous dramatization of the essence of the American experience. No major American theme—be it the role of money, art, the quest for social justice, race, or our sense of our national destiny—escapes Fitzgerald's prophetic gaze. This edition, strategically organized and invaluable from start to finish, is the virtually perfect guide to the depth and significance of his masterpiece." - Arnold Rampersad, Stanford University “Michael Nowlin’s edition of The Great Gatsby is educational and elegant. The generous footnotes are detailed yet unobtrusive, and the supplementary materials provide excellent context for what many consider The Great American Novel. The novel, and the world of the novel, are both available to you here, as inseparable as they were while Fitzgerald found inspiration and wrote.” — Anne Margaret Daniel, The New School “Readers are indeed fortunate to have Michael Nowlin’s extremely useful edition of The Great Gatsby. Nowlin provides a wealth of ancillary materials that enhance our understanding and appreciation of Fitzgerald’s masterpiece. Throughout, Nowlin’s emphasis is on the quality, not quantity, of these materials; the result is a book that will be indispensable to students, teachers, and the casual reader alike.” — Jackson R. Bryer, University of MarylandTable of Contents Appendix A: Fitzgerald's Correspondence about The Great Gatsby (1922-25) Appendix B: Contemporary Reviews 1. Isabel Patterson, New York Herald Tribune Books (19 April 1925) 2. H.L. Mencken, Baltimore Evening Sun (2 May 1925) 3. William Rose Benét, Saturday Review of Literature (9 May 1925) 4. William Curtis, Town & Country (15 May 1925) 5. Carl Van Vechten, The Nation (20 May 1925) 6. Burton Rascoe, Arts & Decoration (June 1925) 5. Gilbert Seldes, The Dial (August 1925) Appendix C: Consumption, Class, and Economy 1. From Emily Post, Etiquette in Society, in Business, in Politics and at Home (1922) 2. Eight Contemporary Advertisements 3. From F. Scott Fitzgerald, "How to Live on $36,000 a Year" (1924) 4. From Samuel Crowther & Jacob Raskob, "Everybody Ought to be Rich" (1929) Appendix D: The Irreverent Spirit of the Jazz Age 1. From F. Scott Fitzgerald, "Echoes of the Jazz Age" (1931) 2. Duncan M. Poole, "The Great Jazz Trial" (1922) 3. F. A. Austin, "The Bootlegger Speaks" (1922) 3. From H.L. Mencken, ["Five Years of Prohibition"] (1924) 4. Zelda Fitzgerald, "What Became of the Flappers?" (1925) 5. From Walter Lippmann, A Preface to Morals (1929) Appendix E: Race and the National Culture, 1920-25 1. From Lothrop Stoddard, The Rising Tide of Color Against White World-Supremacy (1920) 2. From Henry Ford, Jewish Influences in American Life (1921) 3. From Frederick C. Howe, "The Alien" (1922) 4. From Anzia Yezierska, Bread Givers (1925) 5. From Alain Locke, "The New Negro" (1925) 6. From J. A. Rogers, "Jazz at Home" (1925) 7. Miguel Covurrubias and Eric Walrond, "The Sheik of Dahomey" (illustration, 1924)

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Book SynopsisIn their moral tales, writers such as Hannah More, Amelia Opie, and Maria Edgeworth embraced explicitly didactic aims, seeking to instill normative moral behavior in their readers while entertaining them with vivid, emotional storytelling. In More's 'Tawney Rachel,' for example, a servant girl suffers severe consequences for succumbing to superstition; in Opie's 'The Black Velvet Pelisse,' a young woman is rewarded for a charitable act with a desirable marriage; and in Edgeworth's 'The Dun,' a wealthy man's selfishness destroys a poor family before he finally sees the error of his ways.This edition offers a selection of five short fictions by More, Opie, and Edgeworth-the best-known writers of the moral tale-prefaced by a critical introduction to the genre and its place in the complex and fascinating debates surrounding the writing and reading of fiction in the Romantic period. The volume concludes with a variety of background materials that help situate the moral tale in its late eighteenth- and early nineteenth-century literary contexts, including moral tales for children, theories of education, and contemporary reviews.Trade Review“This is a fascinating and thought-provoking book. Arguing that writing moral tales was women writers’ solution to the disparagement of the novel, Robin Runia’s selection of stories by Hannah More, Amelia Opie and Maria Edgeworth, three popular authors, provides interesting and stimulating illustrations of their different use of the genre. However, Runia does more than this: she includes, for each writer, excerpts from contemporary critical reviews. This gives us an insight not just into the contemporary reception of their work but into the criteria that critics used for these judgements, a most important one being educating and improving the reader. Unusually but commendably, Runia includes in her discussion the moral tales for children by Edgeworth and Opie, providing as context the didactic advice about suitable reading for children and about female education purveyed in two of the most important educational texts of the late 18th century, Practical Education and Strictures on the Modern System of Female Education. This book will be ‘amusing and instructive’ to scholars, students, and general readers alike.” — Michele Cohen, UCL Institute of Education"Professor Robin Runia’s Broadview edition of Moral Tales will appeal to a broad range of readers with interests in the long eighteenth century and Romanticism, the histories of the novel, gender, popular culture and education, and in the distinctive works of Hannah More, Amelie Opie, and Maria Edgeworth, the writers featured in the volume. The stories included are fascinating, rich and compelling, the notes helpful, the contexts (with contemporary reviews, illustrations and commentary) illuminating. Runia’s splendid introduction alone, lucidly placing the moral tale and writers in their respective contexts, is worth the price of the volume. This book should be required reading for any student interested in the long eighteenth century and in how the eighteenth and early nineteenth centuries understood themselves." — Christopher Fox, University of Notre Dame“Robin Runia’s Moral Tales provides an excellent introduction to Hannah More, Amelia Opie, and Maria Edgeworth—three leading female authors at the turn of the nineteenth century—and some of their short fictions from the oft-neglected, though popular didactic genre. The contexts from contemporary reviewers and conduct books, as well as their connections to early children’s literature, are useful for student readers and convincingly demonstrate the significance of these works.” — Hilary Havens, University of Tennessee“This well-researched edition shows how moral tales became a mode of resistance to derogatory perceptions of women writers and readers of the English sentimental novel in the late eighteenth century. Runia shows how the moral tale was developed in reaction to the English sentimental novel; how it broadened women’s authority; and how it became a highly versatile form that could be adapted to suit the political positions of writers as diverse as Hannah More, Amelia Opie, and Maria Edgeworth. In an introduction that clearly demonstrates how the moral tale was used for diverse purposes, Runia places the moral tale beside the sentimental novel, not apart from it. This fine and readable edition also includes contemporaneous reviews and selections from other texts by the three writers, which add literary and social context that expands our knowledge of the history of genre, gender, and the English novel.” — Rebecca Shapiro, City University of New York“The rise of the British ‘moral tale’ in the early nineteenth century promoted powerful female authors, advanced far-ranging pragmatic educational theories, and established the genre that flourished in the following decades as the Golden Age of children’s literature. Robin Runia’s collection, Moral Tales, focuses on three influential figures: Hannah More, Amelia Opie, and Maria Edgeworth, supplying biographical information, cultural context, and readable samples from each one. This book will be a useful reference guide for advanced scholars; Runia has employed extensive archival knowledge to excavate both the most essential and the most accessible materials. Professors teaching Women’s and Gender Studies, Education, and Romantic Literature will find it invaluable, since the material deals explicitly with issues of class, gender, and the impact of military service. They show a side of the period erased by canonical Romantic fiction and will provoke passionate discussions among twenty-first century students.” — Katharine Kittredge, Ithaca College“Robin Runia’s Broadview edition of Moral Tales reminds scholars and students that the Romantic-era’s publishing landscape was rich and diverse. It is past time that scholars set the essays, poetry, and novels of Hannah More, Amelia Opie, and Maria Edgeworth into conversation with their tales, and this ground-breaking teaching edition allows us to do so.” — Roxanne Eberle, University of GeorgiaTable of ContentsIntroduction The Moral Tale Hannah More Amelia Alderson Opie Maria Edgeworth Moral Tales: A Selection Hannah More, 'Tawney Rachel,' Cheap Repository Tracts (1796-97) Hannah More, 'The Servant Man Turned Soldier,' Cheap Repository Tracts (1796-97) Amelia Opie, 'The Black Velvet Pelisse,' Simple Tales (1806) Amelia Opie, 'The Soldier's Return,' Simple Tales (1806) Maria Edgeworth, 'The Dun,' Tales of Fashionable Life (1809) In Context A. Contemporary Reviews 1. from anonymous, review of 'Cheap Repository Tracts,' The Evangelical Magazine (October 1795) 2. from anonymous, review of 'Cheap Repository Tracts,' Critical Review (October 1797) 3. from anonymous, review of 'Simple Tales,' Literary Journal (August 1806) 4. from anonymous, review of 'Simple Tales,' Edinburgh Review (July 1806) 5. from anonymous, review of 'Simple Tales,' The Critical Review (August 1806) 6. from anonymous, review of 'Tales of Fashionable Life,' The Critical Review (July 1809) 7. from anonymous, 'On Edgeworth's Tales of Fashionable Life,' The Critical Review, or Annals of Literature (October 1809) B. Illustrations 1. Title page, 'Tawney Rachel,' from Hannah More, Cheap Repository Tracts (1796-97) 2. Title page, 'Servant Man Turned Soldier,' from Hannah More, Cheap Repository Tracts (1796-97) 3. Valentine Green after John Opie, 'A lady telling a gripping story to young women and children' (1785) 4. William Harvey, 'Ennui' [Frontispiece engraving], in Maria Edgeworth's Tales and Novels, Volume 6 (1832) C. Tales for Children 1. Maria Edgeworth, 'Tarlton,' The Parent's Assistant (1796) 2. Amelia Opie, 'The Little Boy and His Lame Dog,' Tales of the Pemberton Family (1825) D. Educating Readers 1. from Maria and Richard Lovell Edgeworth, Practical Education (1798) 2. from Hannah More, Strictures on the Modern System of Female Education with a View to the Principles and Conduct of Women of Rank and Fortune (1799; 1809)

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Book SynopsisThe first incarnation of this Broadview edition of Heart of Darkness appeared in 1995, the second in 1999; both were widely acclaimed, and the Goonetilleke Heart of Darkness remained for many years one of Broadview's best-selling titles. For the third edition the book has been completely revised and updated to take account of the scholarship of the most recent generation. The introduction has been extensively rewritten, and the appendices of contextual materials thoroughly overhauled.The two previous editions of the Goonetilleke Heart of Darkness included a substantial selection of documents on the history of Benin, ranging from excerpts taken from Olaudah Equiano's eighteenth-century narrative to documents concerning the Benin massacre of 1897. Those documents concerning a neighboring Bantu society were included in large part because of the paucity of known late nineteenth-century documents concerning the Congo by black Africans - or indeed by black observers of any nationality. In place of those Benin-related materials, this new edition includes substantial excerpts from George Washington Williams's Letter to Leopold II, as well as substantial excerpts from an extraordinary document not included in any other edition of Heart of Darkness (but discussed extensively in two ground-breaking twenty-first century works of scholarship, David Van Reybrouck's Congo: The Epic History of a People and Maya Jasanoff's The Dawn Watch: Joseph Conrad in a Global World): the autobiography of Disasi Makulo. Makulo grew up near the shore of the Congo River in the 1880s and early 1890s, was enslaved by notorious ivory dealer Tippu Tip, and then was taken under the wing of Henry Morgan Stanley. Makulo's account - substantial excerpts of which are here translated into English for the first time - opens an unprecedented window on life in the equatorial forest of the Congo in the late nineteenth century.Trade Review“It is difficult to imagine a more complete, or authoritative, edition of Heart of Darkness. An elegant, and informative, essay introduces the text, but it is the two hundred pages of context which distinguishes this edition from other volumes. Reviews, letters, essays, articles and speeches, give us a fully nuanced picture of Conrad, the Congo, and contemporary attitudes to race, imperialism and exploration. The editor also tracks textual changes, provides us with illustrations, photographs and maps, and manages to distill years of research into a single comprehensive volume that will probably become the standard edition for both the general reader and the scholar.” — Caryl Phillips, Yale University“From the wide-ranging and even-handed Introduction to the absorbing—and often outright arresting—selection of supplementary historical documents, this very substantial edition will give even the newest readers of Heart of Darkness the opportunity to arrive at a properly informed critical opinion on the notoriously contested topic of Conrad, race, and empire.” — Marina MacKay, University of Oxford“Controversial classics like Conrad’s Heart of Darkness demand editions as revelatory as this one. Following his thought-provoking Introduction, D.C.R.A. Goonetilleke provides us with an abundance of contextual materials, many of which introduce new voices and new perspectives on the book’s writing, publication, and reception. The ‘blank space’ of Conrad’s boyhood apprehension of Africa is filled up with excerpts from the adult novelist’s travel and reading during the peak of European imperialism at the end of the 19th century. Alongside racist propaganda keen to excuse the atrocities committed in the vile scramble for African loot, we hear the voices of a former slave and an African-American eye-witness whose open letter to Leopold II denounced Belgium’s unjust and cruel wars in the Congo. In this edition the figure of the British explorer Henry Stanley hovers around the figure of Kurtz while the human mind itself evolves as the ‘lightless region of subtle horrors’.” — Deirdre Coleman, University of Melbourne“D.C.R.A. Goonetilleke’s third edition of Heart of Darkness has been updated with an expanded introduction and a number of highly relevant secondary texts not readily available elsewhere. The introduction speaks to undergraduates and specialists alike, providing a clear and effective account of the Congo’s history and of the critical approaches to the novella since its emergence at the forefront of the modernist canon. The text comes with a rich accompaniment of secondary material. Several significant contemporary reviews and the essential letters are here, as is a representative sampling of writing on race and imperialism. The selections relating to Henry Morton Stanley provide valuable background. Of particular importance is a section from the autobiography of Disasi Makulo, a Congolese villager who was captured as a slave a few years before Conrad was in central Africa. Here at last is a voice from Africa itself to set alongside those of Marlow and Kurtz.” — William Atkinson, Appalachian State University“Broadview’s new edition of Heart of Darkness is a welcome addition to the archive for students and scholars. Professor Gooniteleke’s collection of primary and secondary essays, chronologies, and photographs offers a useful complement to John G. Peters’ recent Broadview edition. In particular, this edition brings forward the Congo’s own history to tell that nation’s story as more than a backdrop to Conrad’s tale of European longing. In that sense, this edition reads Heart of Darkness as a story of colliding cultures; not as Europe acting on the passive object Africa. Furthermore, the Broadview Heart of Darkness embraces the fullest archive of writings Conrad would himself have read—including letters from influential friends and significant journalism from the Times and from Blackwood’s. These are Conrad’s own sources for writing about imperialism and about Africa, and they offer scholars an intense resource for exploring that context. Similarly, supplemental photographs from multiple sources offer teaching tools for students of all levels. The Broadview Heart of Darkness frames a story of globalization and imperialism, and frames it in a way that’s as productive for a deep dive by scholars as it is for a classroom visit by students. Together, these make the newest Broadview Heart of Darkness useful for library shelves and undergraduate syllabi.” — Jeffrey Mathes McCarthy, Director of Environmental Humanities, The University of Utah“This rich critical edition offers a deep engagement with Conrad’s thinking about European ‘criminality … when undertaking the civilizing work on Africa,’ and its apparatus reflects Heart of Darkness’ complicated status as an emblematic text for decolonial and critical race studies. It invites students to critically examine imperialist apologias of the period, perspectives from African, American, and European observers, protest writings, and formative anti-racist efforts from politically active writers such as Roger Casement. It takes account of recent discussions in Conrad scholarship as well as the text’s early reception history.” — Judith Paltin, University of British Columbia“D.C.R.A. Goonetilleke’s third edition of Heart of Darkness arrives at a critical moment when racially motivated violence against African Americans has spurred mass public protests across the world and renewed calls for action by the ‘Black Lives Matter’ movement. His comprehensive introduction, along with revised and expanded Appendices offer a wide-ranging historical and political context to Conrad’s literary exposé of imperial domination and brutality in late 19th century Europe. These contextual materials enable important and challenging discussions of systemic and ingrained racism, for, as American writer and activist James Baldwin wrote, ‘[H]istory is not the past. It is the present. We carry our history with us. We are our history.’ This new edition is compulsive, compulsory reading, providing an excellent basis for the reader to probe the text further—and, if one were to allow it, see one’s self in it.” — Ranjini Mendis, Kwantlen Polytechnic University; Founding Editor, Postcolonial Text“It has been twenty-one years since Professor Goonetilleke published the second edition of his casebook on Heart of Darkness. Much has been added in that time to the critical conversation—now lasting 123 years—about the novella that this edition addresses. The enlargements all help to historicize the novella compellingly and most appropriately to the present moment, in terms of Conrad’s own reading at the time, the inclusion of more photos and personal accounts of life in the Congo at the time, a section entitled ‘Perspectives on Race and Imperialism’ that gathers together in a more pointed way some readings already present and several new ones, and an expanded, very timely bibliography. I can’t imagine a more valuable casebook for a classroom reading of Conrad’s novella.” — Andrea White, California State University at Dominguez HillsTable of Contents Acknowledgements Preface to the Third Broadview Edition Preface to the First Broadview Edition Introduction Joseph Conrad: A Brief Chronology A Congo Chronology A Note on the Text Heart of Darkness Appendix A: Contemporary Reviews 1. From Edward Garnett, “Mr. Conrad’s New Book,” Academy and Literature (6 December 1902) 2. Hugh Clifford, “The Art of Mr. Joseph Conrad,” Spectator (29 November 1902) 3. From “Mr. Conrad’s New Book” (unsigned), Manchester Guardian (10 December 1902) 4. From “Youth” (unsigned), Times Literary Supplement (12 December 1902) 5. From Athenaeum (unsigned) (20 December 1902) 6. From “Some Stories by Joseph Conrad” (unsigned), New York Times Saturday Review of Books and Art (4 April 1903) 7. From The Monthly Review (unsigned) (7 April 1903) 8. Virginia Woolf, “Mr. Conrad’s ‘Youth,’” Times Literary Supplement (20 September 1917) Appendix B: Diaries, Letters, Other Writings, and Comments by Conrad 1. From Conrad’s Congo Diary (1890) 2. Letter to Marguerite Poradowska (26 September 1890) 3. From Letter to William Blackwood (31 December 1898) 4. From Edward Garnett, “Introduction” to Letters from Conrad (1928) 5. From Letter to R.B. Cunninghame Graham (31 January 1898) 6. From Letter to R.B. Cunninghame Graham (8 February 1899) 7. From Letter to William Blackwood (31 May 1902) 8. From Letter to Elsie Hueffer (3 December 1902) 9. From Letter to Edward Garnett (22 December 1902) 10. From “Geography and Some Explorers,” National Geographic (March 1924) 11. From Letter to Roger Casement (21 December 1903) 12. “Author’s Note” to Almayer’s Folly (1895) Appendix C: The Congo: African, American, and European Viewpoints 1. From Disasi Makulo, The Life of Disasi Makulo (c. 1940) 2. From William G. Stairs, Victorian Explorer: The African Diaries of William G. Stairs (1887) 3. From George Washington Williams, An Open Letter to His Serene Majesty Leopold II (1890) 4. From E.J. Glave, In Savage Africa: Or, Six Years Adventure in Congo-Land (1893) 5. From Guy Burrows, The Land of the Pigmies (1898) 6. From “An Englishman’s Account of Congo State Methods,” The Times (26 May 1899) 7. From Roger Casement, “The Casement Report” (1904) 8. From E.D. Morel, Great Britain and the Congo (1909) 9. From Mark Twain, King Leopold’s Soliloquy: A Defense of His Congo Rule (1905) Appendix D: Henry Morton Stanley 1. From Henry Morton Stanley, Through the Dark Continent (1878) 2. From Henry Morton Stanley, “Preface,” Through the Dark Continent (1899) 3. From Henry Morton Stanley, Incidents of the Journey through the Dark Continent (1886) 4. From speech at a dinner given in his honour by the Lotos Club in New York (27 November 1886) 5. From speech on being given the Freedom of the City of Swansea (4 October 1892) 6. Advertising Announcement (1899) Appendix E: British Perspectives on Race and Imperialism 1. From Thomas Carlyle, “Occasional Discourse on the Negro Question,” Fraser’s Magazine (December 1849) 2. From John Stuart Mill, “The Negro Question,” Fraser’s Magazine (January 1850) 3. From W.M. Thackeray to Anne Carmichael-Smyth (26 January 1853) 4. From John Ruskin, “Lecture 1: Inaugural” (1870) 5. From George Gissing to Algernon Gissing (23 January 1885) 6. From Joseph Chamberlain, Speech, the Imperial Institute (11 November 1895) 7. From Joseph Chamberlain, Speech, the Royal Colonial Institute (31 March 1897) 8. From Mary Kingsley, “Appendix 1: Trade and Labour in West Africa,” Travels in West Africa (1897) 9. From Benjamin Kidd, The Control of the Tropics (1898) 10. From Cecil Rhodes, Speech at Cape Town (18 July 1898) Appendix F: Conrad’s Reading 1. From Gabriela Cunninghame Graham, Saint Teresa, Being Some Account of Her Life and Times (1894) 2. From R.B. Cunninghame Graham, “Bloody Niggers,” The Social-Democrat (April 1897) 3. From Jules Houdret, “The Congo Free State,” Letter to the Editor of The Times (10 April 1897) 4. From H.R. Fox Bourne, “The Congo Free State,” Letter to the Editor of The Times (16 April 1897) 5. From Andrew Seth, “Friedrich Nietzsche: His Life and Works,” Blackwood’s Edinburgh Magazine (October 1897) 6. From E.J. Glave, “Cruelty in the Congo Free State: Concluding Extracts from the Journals of E.J. Glave,” Century Magazine (September 1897) 7. From “Notes,” Saturday Review (17 December 1898) Appendix G: Major Textual Changes Appendix H: Illustrations Appendix I: The Photographs of Alexandre Delcommune Appendix J: The Photographs of Alice Harris Appendix K: Maps of the Congo Select Bibliography

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Book SynopsisHagar’s Daughter is Pauline Elizabeth Hopkins’s first serial novel, published in the Boston-based Colored American Magazine (1901-1902). The novel itself features concealed and mistaken identities, dramatic revelations, and extraordinary plot twists. In Part 1, Maryland plantation heirs Hagar Sargeant and Ellis Enson fall in love, marry, and have a daughter. However, Ellis’s covetous younger brother, St. Clair, claims that Hagar is of mixed-race ancestry, putting her and her infant in peril. When Ellis is presumed to be dead, St. Clair sells Hagar and her child into slavery, and they presumably die when Hagar, in despair, leaps into the Potomac River with her daughter. This is the backdrop for Part 2 (set twenty years later), which includes a high-profile murder trial, an abduction plot, and a steady succession of surprises as the young Black maid Venus Johnson assumes male clothing to solve a series of mysteries that are both current and decades-old. The appendices to this Broadview edition feature advertising for the original publication, other writing by Hopkins and her contemporaries, and reviews that situate the work within the popular literature and political culture of its time.Trade Review“John Cullen Gruesser and Alisha R. Knight have recovered a new American classic by novelist and Colored American Magazine editor Pauline Elizabeth Hopkins. Hagar’s Daughter has it all: political intrigue, murder mystery, star-crossed romance, slave rebellion, and civil war history. A cogent introduction and relevant appendices provide excellent context for both the novice and scholar alike to appreciate the tumultuous US landscape navigated by Hopkins and her peers. The editors’ insightful inclusion of Hopkins’s selected nonfiction and her short story ‘Talma Gordon’ allow for a synergistic reading experience akin to how contemporaneous readers would have encountered the novel in its initial serial form alongside its original, iconic illustrations. This meticulously crafted edition enables a new generation to appreciate one of the most prolific and innovative Black women writers of the early twentieth century.” — Cherene Sherrard-Johnson, University of Wisconsin-Madison“This deliberately curated modern edition of Hagar's Daughter provides a rich contextual literary, social, and historical backdrop for one of Pauline Elizabeth Hopkins's most engrossing novels. Readers, students, and teachers alike will be engrossed by the novel itself and enriched by the illuminating primary and secondary materials that reveal the challenges of race, prejudice, and family in post-bellum America and illuminate Hopkins's far-reaching creative genius.” — Lois Brown, Arizona State UniversityTable of Contents Illustrations Acknowledgements Introduction Pauline Elizabeth Hopkins: A Brief Chronology A Note on the Text Hagar’s Daughter. A Story of Southern Caste Prejudice Appendix A: Hagar’s Daughter Synopsis in the Colored American Magazine (1902) Appendix B: Promoting Hagar’s Daughter 1. Cover of the Colored American Magazine (March 1901) 2. Advertisement for Contending Forces, Colored American Magazine (March 1902) 3. Subscription Advertisement for Colored American Magazine (March 1902) 4. From “Editorial and Publishers’ Announcements,” Colored American Magazine (March 1902) Appendix C: Race/History 1. From Pauline E. Hopkins, “Hon. Frederick Douglass,” Colored American Magazine (December 1900) 2. John Greenleaf Whittier, “Moloch in State Street” (1851) 3. From “Gen. Robert Smalls,” National Republican (6 March 1886) 4. From Pauline E. Hopkins, “Munroe Rogers,” Colored American Magazine (November 1902) Appendix D: The Figure of Hagar 1. Genesis 16 and 21 2. From Pauline E. Hopkins, “Artists,” Famous Women of the Negro Race, X, Colored American Magazine (September 1902) 3. Eliza Poitevent Nicholson, “Hagar,” The Cosmopolitan (November 1893) Appendix E: Popular Genres and Literary Experimentation 1. From Pauline E. Hopkins, Peculiar Sam (1879) 2. Pauline E. Hopkins, “Talma Gordon,” Colored American Magazine (October 1900) 3. Pauline E. Hopkins, “A Dash for Liberty,” Colored American Magazine (August 1901) Appendix F: Gender 1. From Pauline E. Hopkins, “Phenomenal Vocalists,” Famous Women of the Negro Race, I, Colored American Magazine (November 1901) 2. From J. Shirley Shadrach, “Furnace Blasts. II. Black or White—Which Should Be the Young Afro-American’s Choice in Marriage,” Colored American Magazine (March 1903) 3. From Pauline E. Hopkins to W[illiam] M[onroe] Trotter (16 April 1905) Appendix G: Borrowings/Plagiarism/Signifying 1. Illustration from Harriet Beecher Stowe, Uncle Tom’s Cabin (1852) 2. From William Wells Brown, Clotel; or, The President’s Daughter, Chapter 2 and Chapter 25 (1853) 3. Fanny Driscoll, “Two Women,” Frank Leslie’s Popular Monthly (May 1884) Appendix H: Contemporary Responses to Hagar’s Daughter 1. “The Colored Magazine,” Weekly Economist (15 March 1901) 2. From “Editorial and Publishers’ Announcements,” Colored American Magazine (March 1903) Works Cited and Select Bibliography

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Book SynopsisDreams is a work that defies conventional categorization; however, one might best capture its unique formal structure by construing it as a series of prose poems or narrative paintings, a starkly modern text inflected by the far older tradition of the medieval dream vision poem. Arthur Symons praised Dreams by saying, “The words seem to chant themselves to a music which we do not hear.” Though a work of prophecy, it proceeds with a light touch. The sequence of eleven dreams, loosely interlinked, leaves us to wrestle with our doubts; it takes up thorny questions that challenge a culture right where it may tend to be its proudest. The landscape of the work shifts as it moves among the African savannah, congested late-industrial London, and the olive tree-studded hillsides of Italy. The intersectionality of Schreiner’s writing—its concern with gender, sexual orientation, class, nation, and race—makes her a particularly salient voice for today’s students. The appendices to this edition provide an accessible representation of Schreiner’s key contexts, South African and British as well as American. The introduction provides a biographical overview of a writer wrestling with questions of social justice pertinent to her own era, yet relevant to our contemporary moment.Trade Review“The genre of the allegorical fable has long been out of fashion. In their new edition of Olive Schreiner’s Dreams, the editors have provided a wealth of judiciously chosen materials, critical and historical, to help us read these allegories with fresh eyes.” — J.M. Coetzee“Dreams, Olive Schreiner’s book of feminist allegories, became an inspirational book for hunger-striking British suffragettes in Holloway Prison. Charlotte Perkins Gilman carried it with her when she left her marriage, and she called it the sunlight of her freedom. It is wonderful to have Schreiner’s influential book now available for students and scholars, with a splendid introduction co-written by the three editors, connecting her South African political roots, London intellectual experiences, controversial feminist ideas, and literary evolution. The editors have provided a rich selection of contextual documents illuminating Schreiner’s literary influences and her intersecting views of the relationships between feminism, race, sexuality, and labor. A welcome and timely edition for a new generation of readers.” — Elaine Showalter, Professor Emerita, Princeton University“Congratulations to the editors on producing a wonderful new edition of Olive Schreiner’s Dreams, one of her key publications. The editors have also added to the allegories in providing well-chosen selections from across a wide range of Schreiner’s writings, together with thoughtful interpretational notes. The result will surely be an essential book in Schreiner scholarship, appealing both to those wanting an introduction and to those wanting to deepen their knowledge of Schreiner’s work. Brava!” — Liz Stanley, University of EdinburghTable of Contents 1. From the Charter of the British South Africa Company (1889) 2. From Cecil Rhodes, “What We Were Fighting” (November 13, 1900) 3. From Sol Plaatje, Native Life in South Africa (1916) 4. Women’s Enfranchisement Leaflet with Schreiner’s notes (1908) 5. Letters to Julia Solly (1908), Will Schreiner (June 12, 1898), and Edward Carpenter (April 3, 1911) Appendix B: London 1. From Edward Carpenter, My Days and Dreams (1916) 2. From Constance Lytton, Prisons and Prisoners (1914) 3. From W.T. Stead, “The Novel of the Modern Woman” (March 1896) 4. Letters to Havelock Ellis (April 24, 1887), Maria Sharpe (November 24, 1887), and Karl Pearson (November 11, 1890) Appendix C: Literary and Intellectual Influences 1. From John Bunyan, “The Author’s Apology for his Book” and “In the Similitude of a Dream,” Pilgrim’s Progress (1678) 2. “The Parable of the Wedding Banquet,” Luke 14:7-24 3. From Herbert Spencer, First Principles (1860) 4. From Ralph Waldo Emerson, Lecture on the Times (1841) 5. From W.E.B. Du Bois, On the Souls of Black Folk (1903) 6. Selected poems from contemporary black South African poets: I.W.W. Citashe, “Your Cattle are Gone” (written during the 19th century, published 1961); Sol Plaatje, “Sweet Mhudi and I” (1920); Mrs. A.C. Dube, “Africa: My Native Land” (1913); and A.K. Soga, “Daughters of Africa” (1919) 7. From Mary Wollstonecraft, A Vindication of the Rights of Woman (1792) 8. Edward Carpenter, “The Curse of Property” from Towards Democracy (1905) 9. Anna Kingsford, “The Armed Goddess” from Dreams and Dream Stories (1883) 10. Letters to Edward Carpenter (October 26, 1905) and Margaret Harkness (between January and February 1891) Appendix D: The Reception and Importance of Dreams 1. Letter to T. Fisher Unwin (1892) 2. Arthur Symons, “Review of Dreams,” The Athenaeum (1891) 3. Amy Wellington, Introduction to Dreams (1915) 4. Advertisement for Dreams, from Trooper Peter Halket (1897) Appendix E: Schreiner’s Corpus 1. From The Story of an African Farm (1883) 2. From Woman and Labour (1911) 3. From From Man to Man (1926) 4. From “The Buddhist Priest’s Wife” (1891) 5. From “The Dawn of Civilisation” (1921) 6. From “Diamond Fields” (1872) 7. From “The Lingua Franca of the World” (1896)

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Book SynopsisThe Afrofuturist plot of Pauline E. Hopkins's Of One Blood (1902-03) weaves together a lost African city, bigamy, incest, murder, ancient prophecies, a thwarted leopard attack, racial passing, baby switching, mesmerism, and hauntings—both literal ghost hauntings and metaphoric hauntings from the sins of slavery. The Broadview Edition offers for the first time annotations and appendices that contextualize the novel in relation to magazines, Black feminism, travels to Africa, racial discourses, scientific and medical debates, and musical culture. The edition's introduction surveys current debates about Hopkins's textual borrowings of from other contemporary writings, and the appendices provide extensive materials on the novel's cultural, musical, and political contexts.Trade Review“Broadview’s edition of Pauline E. Hopkins’s Of One Blood identifies and contextualizes Hopkins’s wide-ranging and varied inspirations, sources, and allusions in a manner that helps readers trace and understand how she employed her craft to perform ‘historical recovery in the service of racial justice.’ Eurie Dahn and Brian Sweeney’s brilliant introduction and meticulously researched notes bring Hopkins’s voice to life and illuminate her position as one of the foremost African American intellectuals of the early twentieth century. The breadth and depth of primary contemporaneous sources that Dahn and Sweeney have assembled raise the bar for scholarly editions.” — Alisha Knight, Washington College“Dahn and Sweeney’s edition of Hopkins’s Of One Blood; or, The Hidden Self strongly grounds the novel in the context of its publication in the Colored American Magazine and of relevant contemporaneous texts and ideas. Its wealth of background and archival material and meticulous elucidation of many of Hopkins’s textual ‘borrowings’ provide multiple inroads for the study of the novel and a tremendous resource for students, instructors, and scholars.” — Julie Fiorelli, Loyola University ChicagoTable of ContentsAppendix A: Pauline Hopkins and the Colored American Magazine 1. From “Rise of the Black Republic: Miss Pauline E. Hopkins Lectures at Tremont Temple,” Boston Post (18 Oct 1889) 2. “Pauline E. Hopkins,” Colored American Magazine (January 1901) 3. From Pauline E. Hopkins, Dedication and Preface to Contending Forces (1900) 4. From “Editorial and Publishers’ Announcements,” Colored American Magazine (May 1900) 5. From R. S. Elliott, “The Story of Our Magazine,” Colored American Magazine (May 1901) 6. “Powerful Serial Stories,” from “Announcement for 1902,” Colored American Magazine (November 1901) 7. Cover, Colored American Magazine (March 1903) 8. “An Interesting Publication,” Colored American newspaper (4 April 1903) 9. Synopsis of Chapters I to XXIII of Of One Blood, Colored American Magazine (November 1903) 10. Crane and Co. Cosmetics Advertisement, Colored American Magazine (March 1903) 11. From “Editorial and Publishers’ Announcements,” Colored American Magazine (October 1903) 12. From “Editorial and Publishers’ Announcements,” Colored American Magazine (March 1903) 13. “Editorial and Publisher’s Announcements,” Colored American Magazine, (May-June 1903) 14. From Pauline E. Hopkins, “How a New York Newspaper Man Entertained a Number of Colored Ladies and Gentlemen at Dinner in the Revere House, Boston, and How the Colored American League was Started,” Colored American Magazine (March 1904) 15. From Pauline E. Hopkins, Letter to William Monroe Trotter (16 April 1905) 16. From “Publishers’ Announcements,” Colored American Magazine (November 1904) 17. From “The Colored Magazine in America,” Crisis (November 1912) Appendix B: Black Feminist Activism 1. From Pauline E. Hopkins, “Famous Women of the Negro Race: IV. Some Literary Workers,” Colored American Magazine (March 1902) 2. From Josephine St. Pierre Ruffin, “Address of Josephine St. P. Ruffin, President of Conference” (1902) 3. From Victoria Earle Matthews, “The Value of Race Literature” (1895) 4. From Ida B. Wells, Southern Horrors: Lynch Law in All Its Phases (1892) 5. From Anna Julia Cooper, “The Status of Woman in America” (1892) Appendix C: “Of One Blood” 1. From Plessy v. Ferguson (1896) 2. Acts of the Apostles 17.16-33 (King James Bible) 3. From Frederick Douglass, “The Claims of the Negro, Ethnologically Considered” (1854) 4. From Harriet Jacobs, Incidents in the Life of a Slave Girl, Written by Herself (1861) 5. From W.E.B. Du Bois, “Of Our Spiritual Strivings,” The Souls of Black Folk (1903) 6. From Francis Marion Crawford, Casa Braccio (1894) 7. From Pauline E. Hopkins (as J. Shirley Shadrach), “Furnace Blasts: II. Black or White?—Which Should Be the Young Afro-American’s Choice in Marriage?” Colored American Magazine (March 1903) Appendix D: Hopkins’s Africa 1. From John Milton, Paradise Lost, Book Four (1667, 1674) 2. From John Hartley Coombs, editor, Dr. Livingstone’s 17 Years’ Explorations and Adventures in the Wilds of Africa (1857) 3. From A.F. Jacassy, “African Studies: I. Tripoli of Barbary,” Scribner’s Magazine (January 1890) 4. From Noel Ruthven, “In the Claws,” Frank Leslie’s Popular Monthly (January 1884) 5. From N. Robinson, “The Colossal Statues of Egypt and Asia,” Frank Leslie’s Popular Monthly (January 1884) 6. From G.A. Hoskins, Travels in Ethiopia, Above the Second Cataract of the Nile(1835) 7. From Pauline E. Hopkins, “Famous Women of the Negro Race. VII. Educators (Continued),” Colored American Magazine (June 1902) 8. Frances Ellen Watkins Harper, “Ethiopia” (1854) 9. From H. Rider Haggard, She: A History of Adventure (1886-87) 10. Sarah Morgan Bryan Piatt, “The Black Princess” (1872) 11. From W.E.B. Du Bois, “To the Nations of the World” (25 July 1900) 12. From Pauline E. Hopkins, A Primer of Facts Pertaining to the Early Greatness of the African Race and the Possibility of Restoration by its Descendants—with Epilogue (1905) Appendix E: Mesmerism, Spiritualism, and Professional Medicine 1. From William James, “The Hidden Self,” Scribner’s Magazine (March 1890) 2. Pauline E. Hopkins, “The Mystery Within Us,” Colored American Magazine (May 1900) 3. From Emma Hardinge Britten, “The Improvvisatore, or Torn Leaves from Life History” (1861) 4. From “The Haunted Voice,” Frank Leslie’s Popular Monthly (December 1884) 5. From J.P.F. Deleuze, Practical Instruction in Animal Magnetism (1837) 6. From The History and Philosophy of Animal Magnetism, with Practical Instructions for the Exercise of This Power, by a Practical Magnetizer (1843) 7. “Discovers the Secret of Life: Indiana Physician Asserts It Is Volatile Magnetism, Which Exists in the Air,” Boston Daily Globe (29 September 1902) 8. From W. E. B. Du Bois, editor, The College-Bred Negro: Report of a Social Study Made Under the Direction of Atlanta University (1900) 9. Abraham Flexner, “The Medical Education of the Negro” (1910) Appendix F: Musical Culture 1. From Pauline E. Hopkins, “Famous Women of the Negro Race: I. Phenomenal Vocalists,” Colored American Magazine (November 1901) 2. From Theodore Drury, “The Negro in Classic Music; or, Leading Opera, Oratorio and Concert Singers,” Colored American Magazine (September 1902) 3. Advertisement for Theodore Drury Opera Company’s Aida, Colored American Magazine (March 1903) 4. Poster for Fisk University Jubilee Singers Concert (c. 1885) 5. “Go Down, Moses,” from The Story of the Jubilee Singers; with Their Songs, 5th edition (1876) 6. From Frederick Douglass, Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself (1845) 7. From W.E.B. Du Bois, “Of the Sorrow Songs,” The Souls of Black Folk (1903) 8. From James Weldon Johnson, “Preface,” The Book of American Negro Poetry (1922)

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Book SynopsisUncle Tom's Cabin may well have excited more controversy than any other work of fiction in American history. Welcomed by many abolitionists and met with indignation by supporters of slavery, it gave crucial impetus to the antislavery movement, and its characters and dramatic scenes were quickly absorbed into the nation's consciousness; at the same time, its employment of racial stereotypes and emphasis on Christian nonresistance in the face of violence left behind a troubling legacy that was debated by black Americans in the nineteenth century and that culminated in the popular tradition of 'Tom shows' that persisted well into the twentieth century. With a brief but robust introduction, judicious selection of the most essential and frequently taught portions of the novel, and examples of contemporary responses, this abridged edition of Harriet Beecher Stowe's antislavery classic provides an overview of the novel's plot, themes, and rhetorical strategies, and is ideal for classroom use. This volume is one of a number of editions that have been drawn from the pages of the acclaimed Broadview Anthology of American Literature; like the others, it is designed to make a range of material from the anthology available in a format convenient for use in a wide variety of contexts.Trade ReviewThe expansion, diversification, and revitalization of the texts and terms of American literary history in recent years is made marvelously accessible in the … new Broadview Anthology of American Literature."—Hester Blum, Penn State University"The Broadview Anthology of American Literature is, quite simply, a breakthrough. … Meticulously researched and expertly assembled, this anthology should be the new gold standard for scholars and teachers alike."—Michael D’Alessandro, Duke University"So much thought has been put into every aspect of the Broadview Anthology of American Literature, from the selection of texts to their organization to their presentation on the page; it will be a gift to classrooms for years to come."— Lara Langer Cohen, Swarthmore College "The multiplicity of early American locations, languages, and genres is here on wondrous display."—Jordan Alexander Stein, Fordham University "Above all, this is a volume for the 21st century. … Its capaciousness and ample resource materials make for a text that is always evolving and meeting its readers in new ways."—Russ Castronovo, University of Wisconsin-Madison"a rich collection that reflects the diversity of American literatures…. [and] that never forgets its most important audience: students. There is a wealth of material here that will help them imagine and reimagine what American literature could be."— Michael C. Cohen, UCLATable of ContentsIntroductionUncle Tom's Cabin; or, Life Among the Lowly: SelectionsIn Context American Slavery: Contemporary Accounts from Theodore Dwight Weld, Angelina Grimké Weld, and Sarah Grimké, American Slavery as It Is: Testimony of a Thousand Witnesses (1839) from The Narratives of Fugitive Slaves in Canada (1856) Runaway Advertisements (1820–67) Uncle Tom's Cabin and the Public William Lloyd Garrison, The Liberator, 26 March 1852 from William J. Wilson [Ethiop], Uncle Tom's Cabin!, Frederick Douglass' Paper, 17 June 1852 from Charles Sumner, US Senate Speech on his Motion to repeal the fugitive Slave Bill (as reprinted in the Anti-Slavery Bugle, Lisbon, Ohio), 18 September 1852 from anonymous, Uncle Tom's Cabin, The New York Observer, 21 October 1852 from Louisa S. McCord, Uncle Tom's Cabin, Southern Quarterly Review, January 1853 from George Sand, George Sand and Uncle Tom, The National Era, 27 January 1853 from George Frederick Holmes, A Key to Uncle Tom's Cabin, Southern Literary Messenger, June 1853 from anonymous, The North American Review, October 1853 from Mary Chesnut, Diary, 1861–62, 1981 Advertisement, New England Farmer (Boston, Massachusetts), 25 December 1852 (An Edition for the Million) Advertisement, Hartford Courant (Hartford, Connecticut), 12 August 1852 The Anti-Tom Novel from Caroline Lee Hentz, The Planter's Northern Bride (1854) Martin Delany and Frederick Douglass Debate Harriet Beecher Stowe Visualizing Uncle Tom's Cabin

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Book SynopsisTwo of Washington Irving's works of short fiction from his 1819-20 work, The Sketch Book Rip Van Winkle and The Legend of Sleepy Hollow are among the most enduringly popular of American classics. In his own day, Irving's works were widely read in Britain as well as in America; the English novelist William Makepiece Thackeray described him as 'the first ambassador whom the New World of Letters sent to the Old.' This edition takes notice of transatlantic literary history with an appendix of reviews from American and British newspapers, and by printing in facing page format the American and British versions of 'Traits of Indian Character' (which differed from each other in a variety of interesting ways). Also included are an excerpt from Irving's first major work, A History of New York; excerpts from a key source that Irving drew on for Rip Van Winkle and a selection of illustrations showing some of the ways in which this character was imagined in nineteenth-century America. With a concise but wide-ranging introduction and extensive explanatory notes, this edition is ideally suited for course use.This volume is one of a number of editions that have been drawn from the pages of the acclaimed Broadview Anthology of American Literature; like the others, it is designed to make a range of material from the anthology available in a format convenient for use in a wide variety of contexts.Trade ReviewComments on The Broadview Anthology of American Literature“The expansion, diversification, and revitalization of the texts and terms of American literary history in recent years is made marvelously accessible in the … new Broadview Anthology of American Literature.” — Hester Blum, Penn State University“The Broadview Anthology of American Literature is, quite simply, a breakthrough. … Meticulously researched and expertly assembled, this anthology should be the new gold standard for scholars and teachers alike.” — Michael D’Alessandro, Duke University“So much thought has been put into every aspect of the Broadview Anthology of American Literature, from the selection of texts to their organization to their presentation on the page; it will be a gift to classrooms for years to come.” — Lara Langer Cohen, Swarthmore College “The multiplicity of early American locations, languages, and genres is here on wondrous display.” — Jordan Alexander Stein, Fordham University “Above all, this is a volume for the 21st century. … Its capaciousness and ample resource materials make for a text that is always evolving and meeting its readers in new ways.” — Russ Castronovo, University of Wisconsin-Madison“a rich collection that reflects the diversity of American literatures…. [and] that never forgets its most important audience: students. There is a wealth of material here that will help them imagine and reimagine what American literature could be.” — Michael C. Cohen, UCLA “The Broadview Anthology of American Literature is an instructor’s dream for introducing students to the diversity and complexity of American literature.” — Venetria K. Patton, University of Illinois, Urbana-Champaign“I am eager to teach with this anthology! It aligns with cutting-edge research through its selections, its introductions, and explanatory notes, and the texts are supplemented with primary documents that encourage teachers and students to think critically and dynamically.” — Koritha Mitchell, The Ohio State UniversityTable of ContentsIntroductionfrom A History of New York, from the Beginning of the World to the end of the Dutch Dynasty, by Diedrich Knickerbocker Chapter 5from The Sketch Book of Geoffrey Crayon, Gent. The Wife Rip Van Winkle English Writers on America Traits of Indian Character The Legend of Sleepy Hollow In Context: Responses to The Sketch Book in American and British newspapers A German Source for Rip Van Winkle In Context: Images of Rip Van Winkle

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Book SynopsisBased on historical events, Tolstoy's beloved final novella tells the story of the rebel leader Hadji Murat-whom Tolstoy described as 'the leading daredevil of the Caucasus'-and of the precarious alliance he forged with his enemies during his final days. Set during the Russian conquest of the Caucasus in the 1850s and expressing empathy for the resistance of the native peoples of Dagestan and Chechnya, Hadji Murat raises significant questions of power, imperialism, and betrayal, and remains moving and relevant today. This richly annotated edition features a selection of illuminating background materials that help situate the novella in its historical and literary context.Trade ReviewColonial war and resistance. The murky politics of enemies, allies, and go-betweens. Questions of loyalty and faith. As the struggle intensifies, who will you side with - the inevitable, awful victor or the inspired but doomed rebel? Will you fight for an idea or for your home, for the emperor or your family? Kirsten Lodge's fresh translation deftly captures the raw power of Tolstoy's simple but profound story. The related texts and helpful notes make this a perfect edition for the classroom." - Willard Sunderland, University of Cincinnati "Kirsten Lodge's new translation of Hadji Murat renders Tolstoy's lucid prose in all its subtlety. Carefully echoing the sentences' rhythms and attending to the wonderful precision of nouns used to evoke the material world, Lodge conveys the deceptive simplicity of the original text. In her translation, as in Tolstoy's original, this simplicity is the source of Hadji Murat's persuasive power." - Anne Lounsbery, New York University"[T]his is an excellent translation and collection of relevant materials. I will assign Professor Lodge's edition in the future. Lodge keeps the English closer to the Russian and also has a good twenty-first-century North American ear." - Robert Blaisdell, Kingsborough Community College, CUNY"Hadji Murat … is a crucial artistic depiction of the workings of imperialism, militarism, and violence as the Russian Empire strove to conquer the Caucasus - written by Leo Tolstoy, a master stylist who had come to question his own complicity in these systems. This new translation by Kirsten Lodge is richly footnoted and features an informative introduction as well as several other relevant stories by Tolstoy. The book will work well for teaching and will reward all kinds of curious readers." - Sibelan Forrester, Swarthmore CollegeTable of ContentsIntroductionHadji MuratGlossaryIn Context Leo Tolstoy on Hadji Murat Tolstoy's Essays from The Kingdom of God is Within You (1894) from What Is Art? (1897) from Bethink Yourselves! (1904) Tolstoy's Early Stories about the War in the Caucasus from 'The Raid' (1853) from 'The Wood-Cutting Expedition: The Story of a Yunker's Adventure' (1855) A Review of Hadji Murat Arnold Zisserman's Memoirs of the Caucasusfrom Arnold L. Zisserman, Twenty-Five Years in the Caucasus, Vol. II: 1842–1867 (1879) Images Map 1: The Caucasus in the present day Map 2: Dagestan, Chechnya, and the Caucasian Imamate

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Book SynopsisIn this novelette, William Gilmore Simms records one of the awful realities of America's early frontier, that of women trapped in ill-fated marriages. Forced into a union with her lover, Helen Halsey is exploited and victimized in a domestic situation from which there is no release.Utilizing the compression of the short novel form, Simms weaves elaborate plot lines of violence, romance, and intrigue to create a fast-moving, action-packed tale of an America just beginning its search for identity, justice, and spiritual truth. Edgar Allan Poe said of Simms that "in invention, in vigor, in movement, in the power of exciting interest, and in the artistical arrangement of his themes," he surpassed "any of his countrymen."

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Book SynopsisThis is a new edition of a classic work of the American Renaissance. Praised at the time as the most emphatically 'American' book ever written, ""Margaret"" is a breathtaking combination of female bildungsroman, utopian novel, and historical romance. First published in 1845, Sylvester Judd's novel centers on the fictional New England village of Livingston, where the young Margaret Hart strives to escape the poverty and vice of her surroundings by learning from a mysterious teacher, the 'Master', and by entwining herself with the powers of nature. But when Margaret's brother is tried and hanged for murder, this rural community collapses, forcing Margaret to face the temptations of an urban underworld and to confront the intrigue of her family history. ""Margaret"" is the story of a young woman's attempt to create a new social order, founded on beauty and truth, in a land plagued by violence, debauchery, and political instability. As Gavin Jones points out in his new introduction, ""Margaret"" perhaps stands alone in its creation of a female character who grows in social rather than domestic power. The novel also remains unique in its exploration of transcendental philosophy in novelistic form. Part eco-criticism, part seduction novel, part temperance tract, and part social history, ""Margaret"" is a virtual handbook for understanding the literary culture of mid-nineteenth-century America, the missing piece in puzzling out connections between writers such as hawthorne, Melville, Whitman, and Thoreau. ""Margaret"" was widely read and deeply influential on both British and American writers throughout the nineteenth century but controversial for its representations of alcoholism and capital punishment. Judd's novel remains resonant for today's readers as it overturns conventional views of the literary representation of women and the origins of the American Renaissance.Trade ReviewMargaret is an important novel, interesting on its own terms and also for its relevance to our understanding of nineteenth-century American literature. I could imagine teaching it in courses on the Transcendentalists, on sentimental literature, on nature writing, on the literature of social protest, on the nineteenth-century American novel, and in relation to such authors as Emerson, Fuller, Thoreau, Stowe, Hawthorne, Alcott, Melville, and James. - Samuel Otter, author of Melville's Anatomies

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Book SynopsisFeaturing ten stories never before translated, dating from 1878 to 1886 (regarded as Joaquim Machado de Assis’s most radically experimental period), this selection of short fiction by Brazil’s greatest author ranges in tone from elegiac and philosophical to impishly ironic. Including the author’s classic essay on world literature–also appearing in English for the first time–and with pieces chosen from his vast body of work for their playfulness, pathos, and stylistic subversion, this collection is an ideal introduction to one of world literature’s greatest talents. “A prodigy of accomplishment…deserving of a permanent place in world literature” – Susan Sontag “Everything about Joaquim Maria Machado de Assis seems double. There’s before and after, domestic and metaphysical, high and low, black and white, erotic and austere, short and long, trapped and free, gentle and cruel, perceived and real. The 200 or so stories he wrote spin out these oppositions into a remarkable variousness.”–Peter Robb, Times Literary Supplement “There is in Machado’s prose a playfulness that teases the reader, humor that mocks solemnity and seriousness. He punctures pretentiousness and ridicules received ideas (…) The range of allusions in his work would have amazed even Nabokov. And as with Nabokov, indeed as with any work of art which gives us what Nabokov calls the shiver between the shoulder blades, what elicits one’s astonished admiration is not to do with subject matter…but with that abstract and elusive concept…which manifests itself in that purely aesthetic thing called style.” – Zulfikar Ghose, Context No. 12Trade ReviewA prodigy of accomplishment... deserving of a permanent place in world literature. -- Susan Sontag I couldn't believe he lived as long ago as he did. You would've thought he wrote it yesterday... Great wit, great originality and no sentimentality. -- Woody Allen Machado de Assis does not belong to the Romantic and Realist current of nineteenth-century Spanish America; instead, he revives the great tradition of La Mancha: the tradition of Cervantes-Sterne-Diderot... Better yet: Machado de Assis is a miracle. -- Carlos Fuentes A rare opportunity to explore Machado de Assis' experimentation, particularly through ten stories translated into English for the first time. Rain Taxi

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Book SynopsisMolière's beloved comedy features a rising member of the middle class who lusts for social status and higher learning. The strength of the play lies in its rich comic invention and its sure delineation of character. Its underlying themes of social striving, financial greed, and love's ingenuity still resonate. Bernard Sahlins's new adaptation is wonderfully playable.

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Book SynopsisBlends elements of psychoanalysis and Asian religions to probe an Indian aristocrat''s efforts to renounce sensual and material pleasures and discover spiritual truths.

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Book SynopsisFirst English translation of Mörike's strikingly modern artist-novel of 1832. When one thinks of German artist-novels and Bildungsromane, works long available in translation come to mind--by Goethe, Novalis, Hoffmann, Stifter, Keller, or more recently by Mann, Kafka, Musil, or Grass. Yet Eduard Mörike's provocatively subtitled Maler Nolten: Novelle in zwei Teilen (Nolten the Painter: A Novella in Two Parts, 1832) has remained neglected and misunderstood, and until now has never been translated into English, despite itsobvious ties to other artist-novels and its striking modernity in playing with conventions of narrative authority and heroic identity. Witness the subtle irony of the opening sequence, in which the narrator is subverted by hintsat his own clumsiness and intimations about the dire truths that lurk behind the protagonist Nolten's relationships to his male friends and to the seductive yet somehow frightening women in his life. Or the interplay between the narrator's attempts to make sense of Nolten's complex inner motivations in his loves and art and the ludicrously pompous pathos with which Nolten persists in speaking and thinking, as he concocts a heroic persona caught up in passion, intrigue, and tragedy. Fascinating too is the mysterious trail of the "Grenzgänger," or border-line characters, with their hints at the dimension of "Gypsies, Tramps, and Thieves" that seems to threaten and at the same time tofoster the complex unfolding of the realities of life and art that defy Nolten's all-too-artful "mastery." Raleigh Whitinger is Professor in the Department of Germanic Languages at the University of Alberta.Table of ContentsIntroduction Notes on the Translation Part One Part Two Notes

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Book SynopsisBefore The Hunger Games there was Lord of the FliesLord of the Flies remains as provocative today as when it was first published in 1954, igniting passionate debate with its startling, brutal portrait of human nature. Though critically acclaimed, it was largely ignored upon its initial publication. Yet soon it became a cult favorite among both students and literary critics who compared it to J.D. Salinger's The Catcher in the Rye in its influence on modern thought and literature.William Golding's compelling story about a group of very ordinary small boys marooned on a coral island has become a modern classic. At first it seems as though it is all going to be great fun; but the fun before long becomes furious and life on the island turns into a nightmare of panic and death. As ordinary standards of behaviour collapse, the whole world the boys know collapses with them—the world of cricket and homework and adventure stories—and another world is revealed beneath, primitive and terrible.Labeled a parable, an allegory, a myth, a morality tale, a parody, a political treatise, even a vision of the apocalypse, Lord of the Flies has established itself as a true classic.Lord of the Flies is one of my favorite books. That was a big influence on me as a teenager, I still read it every couple of years. —Suzanne Collins, author of The Hunger GamesAs exciting, relevant, and thought-provoking now as it was when Golding published it in 1954.—Stephen King

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Book SynopsisIllustrated prose translation of the epic poem with pedagogical apparatus for make reading this important work a joy. The text is complete with an introductory essay, glossary, and an appendix detailing the tabulation of the gods. Notes throughout the text provide help in following the narrative framework of the epic. Features include - Mythology and mythological references are noted throughout the book and an extensive glossary of names helps the reader follow the complicated genealogies. - A comprehensive introduction provides comparison of the poem with the Iliad and the Odyssey as well as a general framework for the epic to help the student follow the narrative flow of the work. - Unlike a poetic translation, Caldwell''s work focuses on the story, the myth and the literary context, making this modern new translation on that is easy for the average student to follow and maximum help in understanding.

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Book SynopsisThis complete verse translation of Ovid''s classical work is illustrated with extensive notes and an index and glossary. To help the reader contend with Ovid''s frequent leaps both ahead and back in time, the principle episodes are listed at the beginning of each book and the subsections and digressions marked with indentations. Some footnotes also refer to mythological material Ovid has derived from Greek epic or drama or, occasionally, from later sources. Specific authors referred to in these notes are briefly identified in the index and glossary

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Book SynopsisGreek poet Hesiod took many lines of thought and knowledge - myth, fable, personal experience, practical understanding - and wove them into one great whole. He did as much with the origins of the Greek gods in the Theogony, and then did the same in creating his manual of moral and practical advice, Works and Days. Here, Stephanie Nelson's translation of Works and Days is paired with Richard S. Caldwell's take on the Theogony. Along with introductory essays, these comprehensible versions of Hesiod's two best-known poems make it easy for readers to see why Hesiod's writings continue to resound through the ages.

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Book SynopsisThis translation by Tom Simone provides a text that is close to Dante's meter and style as is possible using modern English. In such a way a student gets a feel for the structure and impact of the original, and it could also provide an easy segue to the original Italian. Simone provides an extensive introduction, ample footnotes for references that may not be clear to the reader, and each Canto provides a prose overview of the poetry to follow, all designed to provide the modern student with access to this important work.

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