This volume contains two love stories which appeared long ago in Peterson's Magazine and marked the beginning of Mrs. Burnett's literary work. “Kathleen Mavourneen” and “Pretty Polly Pemberton” are all fascinating heroines with the world at their feet; their beauty, grace, and wit are well calculated to charm the impressionable hearts of “maidens in their teens.” Mrs. Burnett's style was vivid even in those early days.

'Even if he had written nothing else', Ivan Bunin wrote of Chekhov's early stories, 'we would still have said that an amazing mind had flashed through Russian literature'. His youthful work immediately established Chekhov as a leading writer of both comic and serious fiction. The humorous tales have delighted Russians since the 1880s, while the many admirers of the more serious stories include James Joyce and Katherine Mansfield. In this selection, stories withpunchy endings jostle with outrageous paradies, fracical situations, the pastoral comedy of Romance with Double-Bass, and the absurdist humour of classics such as The Death of a Civil Servant. But the volume also contains some of Chekhov's finest stories about children, 'non-love' stories like TheLittle Joke and The Kiss, the hauntingly lyrical Easter Night, and the chilling Let Me Sleep. This translation does full justice to the masterful range of the young Chekhov; for those unfamiliar with his early work this edition will be a revelation.

Edited and with an Introduction by Bryant Mangum Foreword by Roxana Robinson Benediction • Head and Shoulders • Bernice Bobs Her Hair • The Ice Palace • The Offshore Pirate • May Day • The Jelly Bean • The Diamond as Big as the Ritz • Winter Dreams • Absolution In the euphoric months before and after the publication of This Side of Paradise, F. Scott Fitzgerald, the flapper’s historian and poet laureate of the Jazz Age, wrote the ten stories that appear in this unique collection. Exploring characters and themes that would appear in his later works, such as The Beautiful and Damned and The Great Gatsby, these early selections are among the very best of Fitzgerald’s many short stories. This Modern Library Paperback Classic includes notes, an appendix of nonfiction essays by Scott and Zelda Fitzgerald and their contemporaries, and vintage magazine illustrations.

A collection of NINE selected early works of the horror master, H.P. Lovecraft. Here are presented the stories : The Alchemist, The Tomb, Dagon, Beyond the Wall of Sleep, The Statement of Randolph Carter, Arthur Jermyn, The Picture in the House, The Music of Erich Zann, and The Lurking Fear. Each of the stories is accompanied by illustrations from a diverse group of comic artists. A must for any H.P. Lovecraft fan's collection.

Boker (English and comparative literature, Columbia U.) examines the "prolonged adolescence" of the American male canon, focusing in depth on the work of Melville, Twain, and Hemingway. Boker reveals in these authors' lives and fiction a world of perpetual adolescence, repressed grief, and repudiation of feminine identification. Annotation copyright by Book News, Inc., Portland, OR

Passionate Fictions was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. "Clarice Lispector is the premiere Latin American woman prose writer of this century," Suzanne Ruta noted in the New York Times Book Review, "but because she is a woman and a Brazilian, she has remained virtually unknown in the United States." Passionate Fictions provides American readers with a critical introduction to this remarkable writer and offers those who already know Lispector's fiction a deeper understanding of its complex workings.

Kipling's Art of Fiction 1884-1901 re-establishes its subject as a major artist. Through extended close readings of individual works, and unprecedentedly detailed attention to changes in location and readership, it distinguishes between two kinds of Kipling fiction. The first is coercive and concerned with the authoritarian control of meaning; the second relates less directly to its immediate historical surroundings and is more aesthetically complex. Misunderstandings have often resulted from confusing the two kinds of work. Distinguishing between them allows for a newly coherent account of Kipling's career, both explaining his artistic achievement and making clearer his identity as a political writer. Changes in Kipling's narrative practice are tracked as he moves from India to Britain and the US, and engages with a succession of new audiences and political contexts; detailed readings are provided of such key texts as Plain Tales from the Hills, The Jungle Books and Kim. As well as revealing the precise nature of Kipling's artistry, this book shows how properties of narrative which have been generally underrated — such as embodiment and externality — can be used to make sophisticated fictions, and by linking these to Robert Louis Stevenson's discussion of the romance, suggests new ways in which such work might be approached.

Informed by selected postmodern theories and cultural criticism, this study argues that while American fiction of the 1980s and 1990s bears the outward signs of a return to realism, it also evidences recurring themes of postmodernism, such as alienation, social disintegration, personal despair, historical dislocation, and authorial self-reflexiveness.

From William Dickson's Rip Van Winkle films (1896) to Baz Luhrmann's big-budget production of The Great Gatsby (2013) and beyond, cinematic adaptations of American literature participate in a rich and fascinating history. Unlike previous studies of American literature and film, which emphasize particular authors like Edith Wharton and Nathaniel Hawthorne, particular texts like Moby-Dick, particular literary periods like the American Renaissance, or particular genres like the novel, this volume considers the multiple functions of filmed American literature as a cinematic genre in its own right-one that reflects the specific political and aesthetic priorities of different national and historical cinemas even as it plays a decisive role in defining American literature for a global audience.

He shows that realism arrived comparatively late to the Maritime provinces and argues that the emergence of a realist style corresponded with a dramatic period of economic and cultural disruption during which the Eastern provinces were transformed from one Canada's most developed, prosperous, and promising regions into one characterized by chronic underemployment and underdevelopment. The region is thus torn between its memory of an earlier, more traditional social order and its present experience as a modern industrial society. These tensions are embedded in the Maritime character and have affected not only the lives of its people but the imaginations and texts of its writers. The stories of Thomas Raddall, Hugh MacLennan, Charles Bruce, Ernest Buckler, Alden Nowlan, Alistair MacLeod, Donna Smyth, Budge Wilson, and David Adams Richards have been deeply influenced by the cultural shifts they have observed. In the last two decades a host of new literary voices has emerged, and Creelman also explores the works of such writers as Ann-Marie MacDonald, Lynn Coady, Nancy Bauer, Deborah Joy Corey, Carol Bruneau, Alan Wilson, Leo McKay, and Sheldon Currie. He shows that these Maritime artists share a common regional identity that shapes their narratives as they find their own paths through the tensions which envelop them.