Literature-classics/criti

"Matthew Ward has done Camus and us a great service. The Stranger is now a different and better novel for its American readers; it is now our classic as well as France's."--Chicago Sun-Times

Since it was first published in English, in 1946, Albert Camus's first novel, The Stranger (L'etranger), has had a profound impact on millions of American readers. Through this story of an ordinary man who unwittingly gets drawn into a senseless murder on a sundrenched Algerian beach, Camus explored what he termed "the nakedness of man faced with the absurd."

Now, in this illuminating translation, extraordinary for its exactitude and clarity, the original intent of The Stranger is made more immediate. This haunting novel has been given a new life for generations to come.

"The ideal companion for troubled times: equal parts Continental escape and serious grappling with the question of what it means to be, and feel, lost." --The Wall Street Journal

Originally published in 1926, The Sun Also Rises helped cement Ernest Hemingway's status as the one of the greatest writers of the twentieth century. A poignant look at disillusionment and angst, the novel introduces two of Hemingway's most indelible characters: Jake Barnes and Lady Brett Ashley.

The story follows the flamboyant Brett and the hapless Jake as they journey from 1920s Paris to the brutal bullfighting rings of Spain with a motley group of expatriates. It is set during an age of moral bankruptcy, spiritual dissolution, unrealized love, and vanishing illusions. The story lays bare themes of alienation and disenchanted youth.

Hemingway's first novel is "an absorbing, beautifully and tenderly absurd, heartbreaking narrative...a truly gripping story, told in lean, hard, athletic prose" (The New York Times).

The Hemingway Library Edition commemorates Hemingway's classic novel with a personal foreword by Patrick Hemingway, the author's sole surviving son, and an introduction by Sean Hemingway, grandson of the author. Hemingway considered the extensive rewriting that he did to shape his first novel the most difficult job of his life. Early drafts, deleted passages, and possible titles included in this new edition elucidate how the author achieved his first great literary masterpiece.

Voted America's Best-Loved Novel in PBS's The Great American Read

"One of the most--if not the most--beloved of American novels." --The New Yorker

Harper Lee's Pulitzer Prize-winning masterwork of honor and injustice in the deep South--and the heroism of one man in the face of blind and violent hatred

One of the most cherished stories of all time, To Kill a Mockingbird has been translated into more than forty languages, sold more than fifty million copies worldwide, and was voted one of the best novels of the twentieth century by librarians across the country. A gripping, heart-wrenching, and wholly remarkable tale of coming-of-age in a South poisoned by virulent prejudice, it views a world of great beauty and savage inequities through the eyes of a young girl, Scout Finch, as her father, Atticus--a crusading local lawyer--risks everything to defend a black man unjustly accused of a terrible crime.

Harper Lee explores with rich humor and unswerving honesty the irrationality of adult attitudes toward race and class in the Deep South of the 1930s. The conscience of a town steeped in prejudice, violence, and hypocrisy is pricked by the stamina and quiet heroism of one man's struggle for justice--but the weight of history will only tolerate so much.

"Now, for the first time, we can read the version that Wilde intended...Both the text and Nicholas Frankel's introduction make for fascinating reading." --Paris Review

More than 120 years after Oscar Wilde submitted The Picture of Dorian Gray for publication in Lippincott's Monthly Magazine, the uncensored version of his novel appears here for the first time in a paperback edition. This volume restores all of the material removed by the book's first editor.

Upon receipt of the typescript, Wilde's editor panicked at what he saw. Contained within its pages was material he feared readers would find "offensive"--especially instances of explicit homosexual content. He proceeded to go through the typescript with his pencil, cleaning it up until he made it "acceptable to the most fastidious taste." Wilde did not see these changes until his novel appeared in print. Wilde's editor's concern was well placed. Even in its redacted form, the novel caused public outcry. The British press condemned it as "vulgar," "unclean," "poisonous," "discreditable," and "a sham." When Wilde later enlarged the novel for publication in book form, he responded to his critics by further toning down its "immoral" elements.

Wilde famously said that The Picture of Dorian Gray "contains much of me" Basil Hallward is "what I think I am," Lord Henry "what the world thinks me," and "Dorian what I would like to be--in other ages, perhaps." Wilde's comment suggests a backward glance to a Greek or Dorian Age, but also a forward-looking view to a more permissive time than his own repressive Victorian era. By implication, Wilde would have preferred we read the uncensored version of his novel today.

First published in 1979, Joan Didion's The White Album records indelibly the upheavals and aftermaths of the 1960s.

Examining key events, figures, and trends of the era--including Charles Manson, the Black Panthers, and the shopping mall--through the lens of her own spiritual confusion, Joan Didion helped to define mass culture as we now understand it. Written with a commanding sureness of tone and linguistic precision, The White Album is a central text of American reportage and a classic of American autobiography.

When Heathcliff, a poor young boy, is adopted into wealthy Catherine Earnshaw's family, he and Catherine form a bond that progresses from childhood friendship to teenage passion. Because of Heathcliff's lowly social status, however, Catherine decides she cannot marry him, and instead marries the gentleman Edgar Linton. This sets in motion a chain of events that ravages both the Linton and Earnshaw families with jealousy, revenge, and bitterness, leaving only the ghosts of Catherine and Heathcliff to haunt the moors.