19th Century Books

The Annotated Wizard of Oz (Centennial Edition)

L. Frank Baum

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Customer Reviews:
Total reviews: 35 Average rating: 4.5 of 5

Editorial Review:

An updated version of the definitive guide, The Annotated Wizard of Oz provides a facsimile color version of the first edition of L. Frank Baum's children's classic along with extensive notes and a thorough history of the immense Oz project. In his excellent introduction, Michael Patrick Hearn describes the author's early life and interests and the development of his collaboration with W.W. Denslow, the original illustrator for his books.

An energetic and excitable fellow, Baum's devotion to make-believe began in his early 20s, when he joined a small touring theatrical troupe on the East Coast. Later attempts to run a general store and a newspaper in South Dakota (then the Wild West) failed miserably. Although few of his business ventures or artistic efforts had met with success, in 1897 Baum's "Father Goose" rhymes (designed and illustrated by Denslow) became a surprise bestseller, and Baum was able to buy his family a summer cottage on Lake Michigan, christened "The Sign of the Goose," for which he made most of the furniture (goose-themed, of course) and stenciled the walls with a frieze of green geese.

The idea for The Wonderful Wizard of Oz, "a modern fairy tale," as he considered it, soon followed, and the book appeared in May 1900. The 10,000-copy first printing sold out in two weeks, and about 90,000 sold within the first year. Hearn goes on to describe the many books that followed, as well as the 1902 musical extravaganza The Wizard of Oz and Baum's subsequent, ill-starred attempts to depict the world of Oz on film. (He died long before the 1939 MGM musical made his fairy tale known around the globe.) In 1907, he told a reporter for the Grand Rapids Herald why he preferred young readers:

To write fairy stories for children, to amuse them, to divert restless children, sick children, to keep them out of mischief on rainy days, seems of greater importance than to write grown-up novels. Few of the popular novels last the year out, responding as they do to a certain psychological demand, characteristic of the time; whereas, a child's book is, comparatively speaking, the same always, since children are always the same kind of folks with the same needs to be satisfied.

Hearn has gone to great lengths in his notes to this facsimile of The Wonderful Wizard of Oz, often referring to subsequent volumes in the series, slowly building a key to the rules and history of Oz, pointing out inconsistencies as well as hints to Baum's literary sources (such as Bunyan's Pilgrim's Progress), and providing, among other delights, a mini-treatise on malevolent vegetation in Oz. This is an essential volume for the Oz aficionado or the student of children's literature, and a wonderful resource for parents of young readers. --Regina Marler

The Oxford Illustrated Jane Austen (Six Volume Set)

Jane Austen

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Total reviews: 12 Average rating: 4.0 of 5

Editorial Review:

R.W. Chapman's fine new edition has, among its other merits, the advantage of waking the Jane Austenite up.... The novels continue to live their own wonderful internal life...freshened and enriched by contact with the life of facts. His illustrations are beyond all praise.--E.M. Forster, Abinger Harvest. This beautiful set provides the definitive text of Austen's six great comic masterpieces and her minor works (the latter include three high-spirited efforts written at about age fifteen; a charming fragment, The Watsons, which has been thought to be a sketch for Emma; and a tantalizing fragment, Sanditon, written in the last year of her life). All six volumes feature splendid early 19th-century illustrations as well as Chapman's detailed explanatory notes. Chapman has collated all the editions published in the author's lifetime and previously unpublished manuscripts, establishing an authoritative text that retains the punctuation, the spelling, and division into volumes of the originals. In addition, at the end of each work he supplies notes on textual matters and appendixes on such matters as the modes of address, or characters, or carriages and travel, as these seem warranted by the text. Additional changes have been incorporated by Mary Lascelles.

Hornblower During the Crisis (Hornblower Saga)

C.S. Forester

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Customer Reviews:
Total reviews: 27 Average rating: 3.5 of 5

Would've been a good novel but the best part wasn't written. 3 out of 5 stars.
6 of 7 people found this review helpful.

This novel picks up with Hornblower relinquishing command of the Hotspur and returning to London for a new command. As typical in a Forester novel, nothing ever goes as planned and action follows Hornblower on his way home from a supply ship. There are only about 150 pages of text in this story and what was missing in the story were what Hornblower did that lead to the eventual decisive Battle of Trafalgar. It was nice to see what Forester wrote anyway only because I like the genre and I like Forester's details and descriptions of being in the Service and living during that time. But this book wouldn't be good on its own.

Cleaning up Forester's Desk 4 out of 5 stars.
2 of 2 people found this review helpful.

Hornblower During the Crisis is apparently a couple of pieces of left over script that Forester hadn't finished when he died, and was later published. The first half deals with Hornblower's trip home to England as a passenger on a water hoy (a supply ship that brings water to ships of the line). The water how is such a dog that after several days of beating back and forth they are still where they began. When they finally do get a fair wind they are chased by a larger French brig and only by some of Hornblower's usual trickery and bravado do they turn the tables and escape. The battle is a little too unbelievable for me; it relies too much no surprise and a sleeping French crew, which I found beyond the realm of possible. Nevertheless our hero returns safely to England.

The second part of the book is another short story about how Hornblower was assigned to be some kind of spy in Spain to deliver fake messages ordering the Spanish fleet out to sea. It's more plausible, but a short story.

Despite its shortcomings, the detail of ships and sailing in the early 19th century make the Hornblower series must reading for any man who loves the sea.

Editorial Review:

This last-written adventure of Horatio Hornblower finds him still a captain; the Napoleonic Wars rage on. Though the tale was incomplete at Forester's death, it offers a full measure of action at sea.

Dracula (Norton Critical Editions)

Bram Stoker

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Customer Reviews:
Total reviews: 20 Average rating: 4.5 of 5

Editorial Review:

Dracula is one of the few horror books to be honored by inclusion in the Norton Critical Edition series. (The others are Frankenstein, The Turn of the Screw, Heart of Darkness, The Picture of Dorian Gray, and The Metamorphosis.) This 100th-anniversary edition includes not only the complete authoritative text of the novel with illuminating footnotes, but also four contextual essays, five reviews from the time of publication, five articles on dramatic and film variations, and seven selections from literary and academic criticism. Nina Auerbach of the University of Pennsylvania (author of Our Vampires, Ourselves) and horror scholar David J. Skal (author of Hollywood Gothic, The Monster Show, and Screams of Reason) are the editors of the volume. Especially fascinating are excerpts from materials that Bram Stoker consulted in his research for the book, and his working papers over the several years he was composing it. The selection of criticism includes essays on how Dracula deals with female sexuality, gender inversion, homoerotic elements, and Victorian fears of "reverse colonization" by politically turbulent Transylvania.

Sherlock Holmes Was Wrong: Reopening the Case of the Hound of the Baskervilles

Pierre Bayard

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Customer Reviews:
Total reviews: 4 Average rating: 5.0 of 5

Editorial Review:

A playfully brilliant re-creation of one of the most-loved detective stories of all time; the companion book no Holmes fan should be without.

Eliminate the impossible, Holmes said, and whatever is left must be the solution. But as Pierre Bayard finds in this dazzling reinvestigation of The Hound of the Baskervilles, sometimes the master missed his mark. Using the last thoughts of the murder victim as his key, Bayard unravels the case, leading the reader to the astonishing conclusion that Holmes – and, in fact, Arthur Conan Doyle – got things all wrong: The killer is not at all who they said it was.

Part intellectual entertainment, part love letter to crime novels, and part crime novel in itself, Sherlock Holmes Was Wrong turns one of our most beloved stories delightfully on its head. Examining the many facets of the case and illuminating the bizarre interstices between Doyle’s fiction and the real world, Bayard demonstrates a whole new way of reading mysteries: a kind of “detective criticism” that allows readers to outsmart not only the criminals in the stories we love, but also the heroes — and sometimes even the writers.

Heart of Darkness and The Congo Diary (Penguin Classics)

Joseph Conrad

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Customer Reviews:
Total reviews: 5 Average rating: 4.0 of 5

'The Emperor's New Clothes', no less... 1 out of 5 stars.
4 of 13 people found this review helpful.

Arriving at this page, inspired, enthused by Coppola's cinematic masterpiece 'Apocalypse Now'? Or maybe from the documentary 'Hearts of Darkness - A Filmmaker's Apocalypse'? Eager to learn more? maybe drink at the fountain from which perhaps the greatest piece of cinema, was born? Think again. What we have here is purely and simply a VERY mediocre novella, a work that was written not by a writer, but by a Mariner with a typewriter - a hobbyist. On no account could or should this be taken as a seminal work of either fact or fiction, and I wish those who are forever trying to have this work classified as such a literary milestone would find a real cause to champion. I mean why is this one of the supposed greats? Is it original? No! Well written? No! Does it have well-drawn characters? No! an intriguing plot, perhaps? No. Does it use language in a new or creative way? No. Does it re-define the novella? No! Does it have potential to influence, either in style or content, the works of other writers? No! - then what? What is it that reverberates so loudly? If not the work then the noise of the crowd surrounding the pedestal - eager for a glimpse of the masterpiece that (they have been told) is so revered, so special.
Between the pseudo-intellectual and the literary professor's attempts to 'interpret' this work (for interpret read: paint it their colour) there is nothing hidden, nor magical here, no genius lies between the poor structure and the even worse punctuation. A simple tale, nothing more. Had one not know Conrad actually ventured to the African Continent, one could have easily mistaken his poorly drawn figures, his stereotypical characters as being the stuff of a boyhood imagination - too many comics and children's novels read under the blanket with a torch...
The only extra-ordinary factor here is the fact that Coppola, in his undisputed genius, took this simple, fragmented tale of no real literary worth and from its inspiration produced a moment in cinematic history which will never again be glimpsed, a peak never again scaled. That is the only thing one need be in awe of here.

Editorial Review:

Penguin inaugurates a series of revised editions of Conrad’s finest works, with new introductions

Exploring the workings of consciousness as well as the grim realities of imperialism, Heart of Darkness tells of Marlow, a seaman and wanderer, who journeys into the heart of the African continent to discover how the enigmatic Kurtz has gained power over the local people.

Maldoror and the Complete Works of the Comte de Lautréamont

Comte de Lautréamont

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Customer Reviews:
Total reviews: 18 Average rating: 5.0 of 5

Tremendously Overrated (Both Book And Translation) 2 out of 5 stars.
9 of 11 people found this review helpful.

This review is of *Maldoror*, alone.

Lautreamont's *Maldoror* is legendary for its bold and complex phrasing and imagery, for its reputation of embodying Surrealism *avant la lettre*, and for its remarkably extreme, savage imagery. Less frequently remarked is its obvious debt to the earlier literature of the *Frenetiques*, such as Petrus Borel. Given the very few English translations of the latter, one may pardon those who do not read French for overestimating the originality of *Maldoror*. Francophones such as the Surrealists and Lykiard, however, have no such excuse.

The descriptions of *Maldoror* in the various reviews here describe the content and style of the work perfectly well, so I shall neither repeat them nor try to outdo them. Instead, I shall offer a slightly less breathlessly adoring view of the work, in general, and of Lykiard's translation of it, in particular.

My view of *Maldoror* is that it is primarily a parody of the extreme tendencies of the "dark side" of Romanticism, in general, and of Byron, in particular. Although Lykiard dismisses Mario Praz's view of Lautreamont and *Maldoror* rather abruptly, Praz's observations seem quite germane, to me:

"[Lautreamont/Ducasse is] a macabre humorist in whom it is impossible to distinguish where sincerity ends and mystification begins".

Those who doubt this observation should have a look at Ducasse's extant letters, many of which bear witness to his desire merely to be a successful writer, and to be judged by the literary critics of the day. In a word, Ducasse/Lautreamont appears to have been precisely the sort of careerist *litterateur* whom the Surrealists excoriated and excommunicated from their ranks with tedious regularity!

As for Lykiard's translation, it is adequate, but far from inspired. Although, as he trumpets *ad nauseam*, his version of *Maldoror* may be in the main less error-riddled than those of his competitors, it is frequently leaden and awkward. Compare, for instance, the following tin-eared rendition to the original, and then to Paul Knight's rendering of the same passage:

The original: "[...] car, à moins qu'il n'apporte dans sa lecture une logique rigoureuse et une tension d'esprit égale au moins à sa défiance, les émanations mortelles de ce livre imbiberont son âme comme l'eau le sucre".

Lykiard: "For unless he bring to his reading a rigorous logic and mental application at least tough enough to balance his distrust, the deadly issues of this book will lap up his soul as water does sugar".

Knight: "[...] for, unless he brings to his reading a rigorous logic and tautness of mind equal at least to his wariness, the deadly emanations of this book will dissolve his soul as water does sugar".

Granted, such evaluations involve much subjectivity, but there's no doubt in my mind which version reads both more accurately and more elegantly in English. Lykiard does, however, deserve credit for demonstrating Knight's faults, as well.

Lykiard's notes are not necessarily much better than his translations. To take but one instance, Lykiard tells us that "God is here (and *passim*) ironically addressed as *tu* rather than the more formal *vous*". If Lykiard were as clever as he'd like to appear, then he'd know that the French *always* address God as *tu*, and not as *vous*. Therefore, there is nothing ironic on its face about Lautreamont's usage, at all.

In sum, *Maldoror* is a sometimes powerful, but often puerile, *reductio ad absurdum* of *Frenetique*-era late Romanticism. Enjoy it for its over-the-top style and its infrequent passages of genuine and sincere poetic power. Do not, however, take it too seriously, because, although we shall never know for certain, my bet is that Ducasse/Lautreamont was little more than a prodigiously gifted adolescent who sought, as most adolescents do, simultaneously to shock and to impress the grown-ups.

Editorial Review:

tr Alexis Lykiard, 2 vols in one w/bibliography &c

Eden's Outcasts: The Story of Louisa May Alcott and Her Father

John Matteson

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Total reviews: 10 Average rating: 4.5 of 5

Editorial Review:

Winner of the 2008 Pulitzer Prize for Biography: The beloved author of Little Women was torn between pleasing her idealistic father and planting her feet in the material world.

Louisa May Alcott's name is known universally. Yet, during her youth, the famous Alcott was her father, Bronson—an eminent teacher, lecturer, and admired friend of Emerson and Thoreau. Willful and exuberant, Louisa flew in the face of all her father's intricate theories of child rearing. She, in turn, could not understand the frugal life Bronson preached, one that reached its epitome in the failed utopian community of Fruitlands. In a family that insisted on self-denial and spiritual striving, Louisa dreamed of wealth and fame. At the same time, like most daughters, she wanted her father's approval. As her father struggled to recover from a breakdown and slowly resurrect his career, Louisa learned to support her family, teaching if she must, but finally finding her vocation in writing. This story of their tense yet loving relationship adds dimensions to Louisa's life, her work, and the relationships of fathers and daughters. 26 illustrations.

Uncle Tom's Cabin (Norton Critical Editions)

Harriet Beecher Stowe

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Total reviews: 6 Average rating: 4.0 of 5

A central text in American Literature and History 5 out of 5 stars.
9 of 11 people found this review helpful.

Uncle Tom is probably the most important single book written in the United States of America. No one is really familiar with American culture, literature, relgion, and history if she or he has not read Uncle Tom.

To understand this book, I would urge people to consult Eric J. Sundquist's book New Essays on Uncle Tom's Cabin (The American Novel) and Jane Tompkin's Sensational Designs. The 19th Century world and reader that Stowe aimed at read and understood things so differently, that you will miss much without knowing how to look at this book the way Stowe wrote to them and the way they read.

This book has a broad purpose: literary to decide what is wrong with the entire world and present an answer. If you follow the sweep of the book you will find Stowe takes on everything from whether the issues of the 1848 revolutions can be resolved on the side of Democracy, to the question of marital relations amogn the free and the white. The issue of slavery is not the book's only focus. It is, in fact, the solution.

Stowe's real thesis here is that American Chattel slavery is the number one evil in the world, that this evil corrupts every institution in society North and South and corrupts far beyond the borders of the United States, and that no compromise with it or avoidance of it is possible.

To Stowe, slavery is an abomination not just because of the cruelty, savagery, exploitation, and degradation involved, but above all, it is an abomination against God, the most unChrist-like behavior possible.

Thus the relgious solution she offers is to become more Christlike in your opposition to slavery and to finally undergrow the Christic experience of dying for your sins and being reborn in Jesus Christ. That's right, in Stowe's time evangelical Christianity, rather than being a fob for right-wing politics, was practiced by some of the militant and serious opponents of slavery.

Stowe creates figures that are Christlike who like Christ die rather than yield to sin and influence the others in their faith. The supreme figure is of course Uncle Tom. Uncle Tom, as a a pejorative, comes not from this novel, but from the Tom shows that blossomed in the late 19th century which were a presentation of a mock version of this story with racist minstrel like charicatures of the African American characters.

In this book, Uncle Tom is a physically majestic, heroic, dignified person, whose faith and dignity are never corrupted, whose death is shown as a parallel to that of Christ in the resurrection of the souls of all around him required to eliminate Slavery. If he is passive, never disobeys his masters, and seems to have not much of a material interest of his own in life, it is because to Stowe this a reflection of his Christic nature.

No doubt at best Stowe sees him as a "noble savage" at Best. There is no doubt if one reads this book and even more clearly STowe's Key to Uncle Tom's Cabin which provided documentation for this book's depiction of slavery, that it is clear that Stowe did not believe African Americans were equal to whites. Her then-current immigrationist views are expressed in the way the one intelligent independently acting Black couple presented here leave the US for Canada once they escape slavery.

Yet, this book accomplished the purpose it had. It galvanized millions of Americans and more millions around the world to dramatically oppose slavery. Uncle Tom was one of the first true international best sellers. In a smaller country, where literacy was lower, and when many people bought books through private libraries where families shared books and the book was often read to family gatherings rather than by one person, Uncle Tom sold two hundred thousand copies in its first year and sold a million copies between its publication and the civil war.

Stowe was honest in her afterward and in other writings to say that her description of slavery in Uncle Tom is much prettier and more nicer than slavery was. She believed an accurate depiction of slavery--Stowe had lived in Cincinatti on the board with slaving Kentucky and traveled through the South--would be so revolting that her target audience of Northern whites would not read this book.

Her book launched a torrent of responses from white southerners as could be expected. However, the popularity of her book encouraged white authors, but especially Black authors to write antislavery books that responded to Stowe. Some of the foundations of Black American literature by authors like Frederick Douglass, William Wells Brown, Harriet Jacobs, and Martin Delany are essentially response to Uncle Tom.

Perhaps the most dramatic is Delany's Blake or the Huts of America whose character is a double to Uncle Tom. However, Delany's hero does not submit to being sold "down the river." He instead runs away and travels throughout the US following the same course as the travels in Uncle Tom showing how slave conditions are so much worse than Stowe showed. Finished with that business, Blake leaves the United States for Cuba where he becomes part of a group of Afro-Cubans unwilling to suffer like Christ and Uncle Tom. Like the current leaders of Cuba, they start to organize an international revolution of Slaves and the oppressed!

Editorial Review:

First published in serial form in 1851-52, this text is based on the edition published as a book later in 1852. The backgrounds section covers the Fugitive Slave Act and the ideals of the abolitionists, and the contemporary criticism section gives an indication of the huge acclaim that greeted the novel's publication.

Nicholas Nickleby (Penguin Classics)

Charles Dickens

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Total reviews: 35 Average rating: 4.5 of 5

A Very Funny Dickens Novel 5 out of 5 stars.
1 of 1 people found this review helpful.

This is a very funny novel in some sections. Imagine an older Oliver Twist, about 19 or 20 or so, but handsome, and with a temper, and with a strong outgoing personality, and one who can act and do all kinds of things. He has lots of self confidence and a beautiful sister, and throw in an obnoxious and rich uncle and a dotty mother. Yes, it is very, very entertaining.

I bought the Wordsworth Classic version but would recommend the Penguin Classic version, and recommend that purchase highly. This is among Dickens's somewhat forgotten novel but still among his best. It is another masterpiece that brings together all of Dickens's writing skills with a great story. I would rate it slightly behind David Copperfield but it remains one of the most original and interesting of Dickens's novels somewhat on par with Oliver Twist.

As background information, I am in the process of reading most of Dickens's 22 novels and longer short stories, and set up a Listmania list. As a suggestion, avoid the Penguin Popular Classics with the plain green covers (I bought two). They fall apart and do not stand up to a read, especially books over 500 pages in length. The Regular Penguin Classics with the photo or painting on the front are excellent and some have maps and illustrations (drawings). The Wordsworth Classics are not as good, and some are illustrated.

A young Dickens at the age of 12 had the unenviable job of attaching labels 10 hours a day at the Warren's boot blacking factory. That experience shaped much of his writing career. Still in his teens he became a law clerk, then later in his twenties a journalist. The last job as a reporter led to the serialized writing of his novels. His works were social commentaries with larger than life characters, or colorful caricatures, living in the slums of London. He was a critic of poverty, social injustice, and the slow moving court system.

All of Dickens's experiences come together in his novels. The Pickwick Papers, his first novel, is mostly humorous. But the next one, Oliver Twist, is a dark novel set in the crime plagued streets of early 19th century London. Next in novel number three, he changes back to a more humorous novel which is the present work. This is a big novel, about 750 pages or so - but the pages fly by. The protagonists are Nicholas, who is almost 20, his sister Kate, a few years younger, and his uncle Ralph Nickleby. Their father has died and Nicholas and Kate come to London with their mother to seek aid from the wealthy uncle. The uncle finds them minimum paying jobs, and that creates a good story. It is a novel with many common features that we expect from Dickens with things such as a school where the children are beaten, but it has many funny parts and it is complicated by the uncle's financial dealings.

Having read many of Dickens's novels I still rate David Copperfield as best as a work of literature and rate Oliver Twist as close behind and a must read. The latter book was read by Queen Victoria and Karl Marx, and both enjoyed the read. The novel had a far reaching social impact. Nicholas Nickleby is another gem and well worth the read, but lacks the social bite of Oliver Twist, and lacks the enthusiasm of David Copperfield, but it is hilarious.

Editorial Review:

The work of a young novelist at the height of his powers, "Nicholas Nickleby" is one of the touchstones of the English comic novel. Around the central story of Nicholas Nickleby and the misfortunes of his family, Dickens created some of his most wonderful characters: the muddle-headed Mrs Nickleby, the gloriously theatrical Crummles, their protege Miss Petowker, the pretentious Mantalinis and the mindlessly cruel Squeers and his wife. "Nicholas Nickleby"'s loose, haphazard progress harks back to the picaresque novels of the 18th century - particularly those of Smollett and Fielding. Yet the novel's exuberant atmosphere of romance, adventure and freedom is overshadowed by Dickens' awareness of social ills and financial and class insecurity.