Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Christopher Redmond’s fascinating account of Doyle’s first trip to America has been reconstructed from newspaper accounts describing the places Doyle visited, from the Adirondacks to New York, Chicago, and Toronto. Despite the gruelling tour schedule, Doyle met dozens of the most important literary and social lights of America. Everywhere he went he was mobbed by public hungry for news of the man he had "killed off" a year earlier — Sherlock Holmes, who was front page news. In Redmond’s lively narrative, which is based on letters, newspaper reports, and other newly unearthed sources, you will discover, as Doyle himself put it, "the romance of America."

The Gilded Age: a Tale of Today is a depiction of those crimes committed in the United States in the late 19th Century which so frequently went unpunished and of the casualties which ought to be called crimes. The description severely winds up with the satirical verdict “No one to blame.” The project of Colonel Sellers for raising mules for the Southern markets is a satire upon the fraudulency and soap-bubble speculation of capitalists. The work is full of hints and descriptions that take their rise from the frauds and outrages under which the country had plagued for so many years. Family, social and national questions are all cleverly satirized. The monument erected to the memory of the Father of his country – a monument begun, but, of course, never completed – calls forth some strokes of bitter but not unjust humor. The means by which preferment is obtained in Washington are amply satirized. There are two views of this book: favorable and unfavorable. This essay considers both. For instance, while some critics think that it is incoherent, others suggests that the narrative departs from the traditional methods of concluding and is thereby more natural than most novels because every chapter of the book bears the marks of both writers and is therefore a novelty in its way. In this essay I argue that The Gilded Age is essentially a satire and should always be accepted as such. Of course, other good contemporary books did not make it to our time in terms of popularity and legacy. The Gilded Age did. We talk, write, and read about it to this day. Evidently, it is an integral part of the annals of American literature and fully contributes to Mark Twain’s reputation, legacy, and lasting influence.

Includes summarized reports of many bee-keeper associations.

This book is a study of signs in American literature and culture. It is mainly about electric signs, but also deals with non-electric signs and related phenomena, such as movie sets. The 'sign' is considered in both the architectural and semiotic senses of the word. It is argued that the drama and spectacle of the electric sign called attention to the semiotic implications of the 'sign.' In fiction, poetry, and commentary, the electric SIGN became a 'sign' of manifold meanings that this book explores: a sign of the city, a sign of America, a sign of the twentieth century, a sign of modernism, a sign of postmodernism, a sign of noir, a sign of naturalism, a sign of the beats, a sign of signs systems (the Bible to Broadway), a sign of tropes (the Great White way to the neon jungle), a sign of the writers themselves, a sign of the sign itself. If Moby Dick is the great American novel, then it is also the great American novel about signs, as the prologue maintains. The chapters that follow demonstrate that the sign is indeed a 'sign' of American literature. After the electric sign was invented, it influenced Stephen Crane to become a nightlight impressionist and Theodore Dreiser to make the 'fire sign' his metaphor for the city. An actual Broadway sign might have inspired F. Scott Fitzgerald's The Great Gatsby. In Manhattan Transfer and U.S.A., John Dos Passos portrayed America as just a spectacular sign. William Faulkner's electric signs are full of sound and fury signifying modernity. The Last Tycoon was a sign of Fitzgerald's decline. The signs of noir can be traced to Poe's 'The Man of the Crowd.' Absence flickers in the neons of Raymond Chandler's Los Angeles. The death of God haunts the neon wilderness of Nelson Algren. Hitler's 'empire' was an non-intentional parody of Nathanael West's California. The beats reinvented Times Square in their own image. Jack Kerouac's search for the center of Saturday night was a quest for transcendence. This book will interest readers who want to learn more about the city, the history of advertising, electric lighting, nightlife, architecture, and semiotics. In contrast to other cultural studies, however, Signs of the Signs is primarily a work of literary criticism. Lovers of literary light will appreciate this book the most.