General Books

Wuthering Heights (Signet Classics)

Emily Brontë

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Customer Reviews:
Total reviews: 2 Average rating: 5.0 of 5

Worthy of its place in the canon 5 out of 5 stars.
3 of 4 people found this review helpful.

How odd that Amazon does not consolidate the comments on the various editions of this book from different publishers.

I read this book out of a certain sense of obligation -- I'd been reading other 19th century English literature and, with some trepidation, picked up Wuthering Heights to complete the set. The book was wonderful, with fully developed if sometimes quixotic characters, and rapid and often unexpected plot twists. The prose is denser than, say, Jane Austen, but not as bad as the stereotypical gothic novel. The main character, Heathcliff, is famously attractive to women but, as a male reader, I thought he was a thoroughly bad egg. Worthy of discussion, though, especially with women who have read it and are likely to have a different opinion.

Editorial Review:

There are few more convincing, less sentimental accounts of love than Wuthering Heights. This is the story of a tormented foundling who falls in love with the daughter of his benefactor, and of the violence and misery that result from their thwarted longing for each other.

Nineteen Eighty-Four

George Orwell

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Customer Reviews:
Total reviews: 70 Average rating: 5.0 of 5

Fiction... or fact? 5 out of 5 stars.
1 of 1 people found this review helpful.

I am a big fan of science fiction. This book might be classified as such, as it was written to be set in the future when George Orwell published it in 1949. But as time passes, this book is showing itself to not be so much of a story as it is a warning. There are already so many phrases from the book that we use, like Big Brother or Newspeak. And the way some governments are now does not bode well. This is a classic novel that more people should read as a warning, so that we can avoid this kind of dystopia.

Editorial Review:

Thought Police. Big Brother. Orwellian. These words have entered our vocabulary because of George Orwell's classic dystopian novel, 1984. The story of one man's nightmare odyssey as he pursues a forbidden love affair through a world ruled by warring states and a power structure that controls not only information but also individual thought and memory, 1984 is a prophetic, haunting tale.

More relevant than ever before, 1984 exposes the worst crimes imaginable-the destruction of truth, freedom, and individuality.
With a new forward by Thomas Pynchon.

Animal Farm and 1984

George Orwell

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Total reviews: 26 Average rating: 5.0 of 5

Editorial Review:

ANIMAL FARM

George Orwell's classic satire of the Russian Revolution is an intimate part of our contemporary culture. It is the account of the bold struggle, initiated by the animals, that transforms Mr. Jones's Manor Farm into Animal Farm--a wholly democratic society built on the credo that All Animals Are Created Equal. Out of their cleverness, the pigs Napoleon, Squealer, and Snowball emerge as leaders of the new community in a subtle evolution that proves disastrous. The climax is the brutal betrayal of the faithful horse Boxer, when totalitarian rule is reestablished with the bloodstained postscript to the founding slogan: But some Animals Are More Equal Than Others. . . .

1984

In 1984, London is a grim city where Big Brother is always watching you and the Thought Police can practically read your mind. Winston is a man in grave danger for the simple reason that his memory still functions. Drawn into a forbidden love affair, Winston finds the courage to join a secret revolutionary organization called The Brotherhood, dedicated to the destruction of the Party. Together with his beloved Julia, he hazards his life in a deadly match against the powers that be.

The Canterbury Tales (Penguin Classics)

Geoffrey Chaucer

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Customer Reviews:
Total reviews: 30 Average rating: 4.5 of 5

Too bad I bought this book. 2 out of 5 stars.
1 of 54 people found this review helpful.

I find it very unfortunate that I wasted my money on this book when I could have read the entire story on the Internet. Of course, the story is out of copyright, and you'll find it all over the Internet, in complete.

Don't waste your money like I did. Even worse, I never even read the book.

My rating is only on the size of the book, because like I said, I never read it, and I am forced to issue a rating (I only wanted to enter a comment).

The Hobo Philosopher 5 out of 5 stars.
0 of 0 people found this review helpful.

I suppose that any freshman college student has read some of these Tales. I had a professor who read a few of them to us in the Olde English. It was really fun and you really got a grasp of where the English language was coming from - and poetry.
I went on from my English class and read the whole works. They are good, classic short stories. You are really going back to the basics here. The stories are all easy to read and are about the everyday type people and their everyday lives. You get classic English literature, history, short story writing techniques, and the roots of the English language all in one medium sized book. Can't beat it. It's a bargain.

Books written by Richard Noble - The Hobo Philosopher:
"Hobo-ing America: A Workingman's Tour of the U.S.A.."
"A Summer with Charlie"
"A Little Something: Poetry and Prose"
"Honor Thy Father and Thy Mother"

Editorial Review:

With their astonishing diversity of tone and subject matter, The Canterbury Tales have become one of the touchstones of medieval literature.

Translated here into modern English, these tales of a motley crowd of pilgrims drawn from all walks of life-from knight to nun, miller to monk-reveal a picture of English life in the fourteenth century that is as robust as it is representative.

Translated by Nevill Coghill

Albion's Seed: Four British Folkways in America (America: a Cultural History)

David Hackett Fischer

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Customer Reviews:
Total reviews: 86 Average rating: 4.5 of 5

Indispensable for understanding the origins of the American Civil War 5 out of 5 stars.
3 of 3 people found this review helpful.

As someone with a keen interest in the American Civil War and its origins, I found Fischer's Albion's Seed to be extremely valuable. Although the period it describes is mostly colonial leading up to the American war for independence from England, the four folkways documented therein clearly delineate the religious, cultural, economic and even environmental forces that lined up to bring about that most seminal event for modern America, the war of 1861-1865.

The origins of slavery and why it took hold in tidewater Chesapeake areas and not Massachusetts are described by Fischer not only in terms of religious and social values but environmental as well in terms of differing mortality rates between African slaves in the two regions, thereby making slavery more economically feasible in Virginia. The regional culture of tidewater Chesapeake created slavery, not the other way around.

The controversy of territorial expansion of the United States in mid-nineteenth century, and whether these new lands would be slave or free, set the stage for the squaring off of the combined ideas of Puritan ordered liberty and Quaker reciprocal liberty (Lincoln was descended from both Puritans and Quakers) against the combination of hierarchical liberty of the tidewater cavaliers and the individualistic liberty of the people of the southern backcountry, who, although they owned few slaves, possessed an acute sense of personal honor and loved to fight.

It is a stretch to say that the American Civil War would have still happened without slavery. However, neither is it "Lost Cause" mythology to say that the North and South represented two distinct cultures, formed primarily by two each of the folkways of Albion's Seed. Had mid-nineteenth century America been one culture, then the slavery issue could certainly have been settled without warfare.

Editorial Review:

This fascinating book is the first volume in a projected cultural history of the United States, from the earliest English settlements to our own time. Itis a history of American folkways as they have changed through time, and it argues a thesis about the importance for the United States of having been British in its cultural origins.

The New Annotated Dracula

Bram Stoker

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Customer Reviews:
Total reviews: 9 Average rating: 5.0 of 5

Editorial Review:

Cause for international celebration—the most important and complete edition of Dracula in decades.

In his first work since his best-selling The New Annotated Sherlock Holmes, Leslie S. Klinger returns with this spectacular, lavishly illustrated homage to Bram Stoker's Dracula. With a daring conceit, Klinger accepts Stoker's contention that the Dracula tale is based on historical fact. Traveling through two hundred years of popular culture and myth as well as graveyards and the wilds of Transylvania, Klinger's notes illuminate every aspect of this haunting narrative (including a detailed examination of the original typescript of Dracula, with its shockingly different ending, previously unavailable to scholars). Klinger investigates the many subtexts of the original narrative—from masochistic, necrophilic, homoerotic, "dentophilic," and even heterosexual implications of the story to its political, economic, feminist, psychological, and historical threads. Employing the superb literary detective skills for which he has become famous, Klinger mines this 1897 classic for nuggets that will surprise even the most die-hard Dracula fans and introduce the vampire-prince to a new generation of readers.

The Man Who Was Thursday: A Nightmare (Modern Library Classics)

G.K. Chesterton

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Total reviews: 102 Average rating: 4.5 of 5

Editorial Review:

In an article published the day before his death, G.K. Chesterton called The Man Who Was Thursday "a very melodramatic sort of moonshine." Set in a phantasmagoric London where policemen are poets and anarchists camouflage themselves as, well, anarchists, his 1907 novel offers up one highly colored enigma after another. If that weren't enough, the author also throws in an elephant chase and a hot-air-balloon pursuit in which the pursuers suffer from "the persistent refusal of the balloon to follow the roads, and the still more persistent refusal of the cabmen to follow the balloon."

But Chesterton is also concerned with more serious questions of honor and truth (and less serious ones, perhaps, of duels and dualism). Our hero is Gabriel Syme, a policeman who cannot reveal that his fellow poet Lucian Gregory is an anarchist. In Chesterton's agile, antic hands, Syme is the virtual embodiment of paradox:

He came of a family of cranks, in which all the oldest people had all the newest notions. One of his uncles always walked about without a hat, and another had made an unsuccessful attempt to walk about with a hat and nothing else. His father cultivated art and self-realization; his mother went in for simplicity and hygiene. Hence the child, during his tenderer years, was wholly unacquainted with any drink between the extremes of absinthe and cocoa, of both of which he had a healthy dislike.... Being surrounded with every conceivable kind of revolt from infancy, Gabriel had to revolt into something, so he revolted into the only thing left--sanity.

Elected undercover into the Central European Council of anarchists, Syme must avoid discovery and save the world from any bombings in the offing. As Thursday (each anarchist takes the name of a weekday--the only quotidian thing about this fantasia) does his best to undo his new colleagues, the masks multiply. The question then becomes: Do they reveal or conceal? And who, not to mention what, can be believed? As The Man Who Was Thursday proceeds, it becomes a hilarious numbers game with a more serious undertone--what happens if most members of the council actually turn out to be on the side of right? Chesterton's tour de force is a thriller that is best read slowly, so as to savor his highly anarchic take on anarchy. --Kerry Fried

Dracula (Enriched Classics Series)

Bram Stoker

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Customer Reviews:
Total reviews: 18 Average rating: 4.0 of 5

Editorial Review:

A true masterwork of storytelling, Dracula has transcended generation, language, and culture to become one of the most popular novels ever written. It is a quintessential tale of suspense and horror, boasting one of the most terrifying characters ever born in literature: Count Dracula, a tragic, night-dwelling specter who feeds upon the blood of the living, and whose diabolical passions prey upon the innocent, the helpless, and the beautiful. But Dracula also stands as a bleak allegorical saga of an eternally cursed being whose nocturnal atrocities reflect the dark underside of the supremely moralistic age in which it was originally written -- and the corrupt desires that continue to plague the modern human condition.

Pocket Books Enriched Classics present the great works of world literature enhanced for the contemporary reader. This edition of Dracula was prepared by Joseph Valente, Professor of English at the University of Illinois and the author of Dracula's Crypt: Bram Stoker, Irishness, and the Question of Blood, who provides insight into the racial connotations of this enduring masterpiece.

Mrs. Dalloway

Virginia Woolf

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Total reviews: 154 Average rating: 4.0 of 5

Editorial Review:

As Clarissa Dalloway walks through London on a fine June morning, a sky-writing plane captures her attention. Crowds stare upwards to decipher the message while the plane turns and loops, leaving off one letter, picking up another. Like the airplane's swooping path, Virginia Woolf's Mrs. Dalloway follows Clarissa and those whose lives brush hers--from Peter Walsh, whom she spurned years ago, to her daughter Elizabeth, the girl's angry teacher, Doris Kilman, and war-shocked Septimus Warren Smith, who is sinking into madness.

As Mrs. Dalloway prepares for the party she is giving that evening, a series of events intrudes on her composure. Her husband is invited, without her, to lunch with Lady Bruton (who, Clarissa notes anxiously, gives the most amusing luncheons). Meanwhile, Peter Walsh appears, recently from India, to criticize and confide in her. His sudden arrival evokes memories of a distant past, the choices she made then, and her wistful friendship with Sally Seton.

Woolf then explores the relationships between women and men, and between women, as Clarissa muses, "It was something central which permeated; something warm which broke up surfaces and rippled the cold contact of man and woman, or of women together.... Her relation in the old days with Sally Seton. Had not that, after all, been love?" While Clarissa is transported to past afternoons with Sally, and as she sits mending her green dress, Warren Smith catapults desperately into his delusions. Although his troubles form a tangent to Clarissa's web, they undeniably touch it, and the strands connecting all these characters draw tighter as evening deepens. As she immerses us in each inner life, Virginia Woolf offers exquisite, painful images of the past bleeding into the present, of desire overwhelmed by society's demands. --Joannie Kervran Stangeland

Frankenstein (Norton Critical Editions)

Mary Wollstonecraft Shelley

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Customer Reviews:
Total reviews: 26 Average rating: 4.0 of 5

Gothic at its best 5 out of 5 stars.
5 of 6 people found this review helpful.

Mary Shelley was the daughter of the famous feminist and author, Mary Wollstonecraft, who is best known for her work The Vindication of the Rights of Women. In Mary Shelley's Frankenstein, a young university student, Victor Frankenstein, obsesses with wanting to know the secret to life. He studies chemistry and natural philosophy with the goal of being able to create a human out of spare body parts. After months of constant work in his laboratory, Frankenstein attains his goal and brings his creation to life. Frankenstein is immediately overwrought by fear and remorse at the sight of his creation, a "monster." The next morning, he decides to destroy his creation but finds that the monster has escaped. The monster, unlike other humans, has no social preparation or education; thus, it is unequipped to take care of itself either physically or emotionally. The monster lives in the forest like an animal without knowledge of "self" or understanding of its surroundings. The monster happens upon a hut inhabited by a poor family and is able to find shelter in a shed adjacent to the hut. For several months, the monster starts to gain knowledge of human life by observing the daily life of the hut's inhabitants through a crack in the wall. The monster's education of language and letters begins when he listens to one of them learning the French language. During this period, the monster also learns of human society and comes to the realization that he is grotesque and alone in the world. Armed with his newfound ability to read, he reads three books that he found in a leather satchel in the woods. Goethe's Sorrows of Young Werther, Milton's Paradise Lost, and a volume of Plutarch's Lives. The monster, not knowing any better, read these books thinking them to be facts about human history. From Plutarch's works, he learns of humankind's virtues. However, it is Paradise Lost that has a most interesting effect on the monster's understanding of self. The monster at first identifies with Adam, "I was apparently united by no link to any other being in existence." The monster, armed only with his limited education, thought that he would introduce himself to the cottagers and depend on their virtue and benevolence; traits he believed from his readings that all humans possessed. However, soon after his first encounter with the cottagers, he is beaten and chased off because his ugliness frightens people. The monster is overwrought by a feeling of perplexity by this reaction, since he thought he would gain their trust and love, which he observed them generously give to each other on so many occasions. He receives further confirmation of how his ugliness repels people when, sometime later, he saves a young girl from drowning and the girl's father shoots at him because he is frightful to look at. The monster quickly realizes that the books really lied to him. He found no benevolence or virtue among humans, even from his creator. At every turn in his life, humans are judging him solely based on his looks. The monster soon realizes that it is not Adam, the perfect being enjoying the world, which he is most alike. Instead, he comes to realize that he most represents Satan. The monster is jealous of the happiness he sees humans enjoy that he has never attained for himself. The monster tells Frankenstein that he found his lab journal in his coat pocket and read it with increasing hate and despair as he came to understand what Frankenstein's intent was in creating him. The monster curses Frankenstein for making a creature so hideous that even his creator turned from him in disgust.

Shelley's intent here is plain to see. "The fate of the monster suggests that proficiency in `the art of language' as he calls it, may not ensure one's position as a member of the `human kingdom." In a sense, she is showing that both her parents were mistaken when they advocated greater education reform for people. They thought education would make people better, which in turn would improve society for all. Mary Shelley's Frankenstein contradicts this belief.

Starting with the full title of Mary Shelley's book, Frankenstein: or The Modern Prometheus one can instantly see that mythology was integral to her book. Lord Byron, poet and friend of the Shelley's was writing a poem entitled Prometheus, and Mary was reading the Prometheus legend in Aeschylus' works when she had a dream, which was the impetus for her book. The Greek god Prometheus, is known for two important tasks that he performed, he created man from clay, and he stole fire from the gods and gave it to man. The stealing of fire really angered Zeus because the giving of fire began an era of enlightenment for humankind. Zeus punished Prometheus by having him carried to a mountain, where an eagle would pick at his liver; it would grow back each day and the eagle would eat it again.

The presence of fire and light in this gothic story helps to point to the similarities to Prometheus and Victor Frankenstein, the creator of the monster, in Shelley's book. The book uses light as a symbol of discovery, knowledge, and enlightenment. The natural world is full of hidden passages, and dark unknown scientific secrets; Victor's goal as a scientist is to grasp towards the light. Light is a by-product of fire that the monster learned quickly when he is living on his own. The monster experienced fires' duality when he first encountered it in an unattended fire in the woods. He is mesmerized by the fact that fire produces light in the darkness in the woods, but is shocked at the sensation of pain it gives him when he touches it. Victor is defiant of god in the same way that Prometheus was defiant of Zeus. Victor steals the secret of life from god and creates a human out of spare body parts. He does this out of an altruistic wish to spare humankind from the pain and suffering of death. Thus, Victor Frankenstein embodies both aspects of the Promethean myth creation and fire. Victor in a sense has the same experience with the fire of enlightenment similar to his monster; he is "burned" by the fire of enlightenment. Victor also suffers from the classic Greek tragic condition of hubris for his transgression against god and nature.

The book also adopts two other great mythic legends. One is Adam from the Bible. Victor Frankenstein bears striking resemblance to Adam and his fall from grace for eating the fruit from the Tree of Knowledge. The other is Satan, a mythic figure that Shelley admired from her readings in Milton's book Paradise Lost. In an interesting juxtaposition of booth myths, she expands on the motif of the fall from grace in her book when she portrays the monster comparing himself to Adam; after he read, Milton's book Paradise Lost. The monster tells Victor, that he at first identifies with Adam God's first creation. "I was apparently united by no link to any other being in existence." However, after several incidents of mistreatment that he suffered from the humans he encountered in his travels; the monster soon realized that it is not Adam, the perfect being enjoying the world, which he was most alike. Instead, he came to realize that he most represented Satan. The monster's feelings of hatred and despair stem from the fact that humans found him grotesque to look at and would not accept him as a member of human society. The monster cursed Victor for making a creature so hideous that even his creator turned from him in disgust. Thus, it is obvious for all to see that Shelley's Frankenstein is replete with mythological references and they are central to the plot.

This was required reading for a graduate course in the Humanities. Recommended reading for anyone interested in history, psychology, philosophy, and literature.

Editorial Review:

This "Norton Critical Edition" of "Frankenstein" contains the 1818 first edition text. Only the obvious typographical errors have been corrected. The book also includes writings by Mary Shelley, Percy Bysshe Shelley, Lord Byron and John William Polidori, enabling the reader to place the novel in its historical context. Six 19th-century responses to the novel illustrate contemporary reactions, whilst 12 modern critical essays cover the different aspects (psychoanalytic, mythic, feminist) of the work.