"The story of the monster man whose horrible deformities cause fear and terror, his search for love and acceptance, and his haunting of the opera house in Paris is told in very simple language. Beautifully adapted, the story flows along so easily that readers will be immediately caught up in the tangle of events and emotions. McMullan conveys all of the anger, grief, joy, and love that make the phantom a truly believable character. Will attract reluctant readers."--School Library Journal.  


From the Trade Paperback edition.

Little Women is one of the  best loved books of all time. Lovely Meg, talented  Jo, frail Beth, spoiled Amy: these are hard lessons  of poverty and of growing up in New England during  the Civil War. Through their dreams, plays,  pranks, letters, illnesses, and courtships, women of all  ages have become a part of this remarkable family  and have felt the deep sadness when Meg leaves the  circle of sisters to be married at the end of Part  I. Part II, chronicles Meg's joys and mishaps as a  young wife and mother, Jo's struggle to become a  writer, Beth's tragedy, and Amy's artistic pursuits  and unexpected romance. Based on Louise May  Alcott's childhood, this lively portrait of  nineteenth-century family life possesses a lasting vitality  that has endeared it to generations of readers.

Philida is gebaseer op historiese werklikheid en sluit wat tema en tydperk betref aan by een van Brink se vroeër romans, Houd-den-bek. Philida was ’n slavin wat tussen 1820 en 1835 op die plaas Zandvliet in die Drakenstein-distrik gewoon het. (Die plaas wat vandag bekend is as Solms Delta). Sy het ’n paar kinders gehad by Frans, die seun van Cornelis Brink, die eienaar van die plaas. Maar toe besluit Cornelis dat Frans met die dogter van ’n ryk Kaapse familie moet trou en dat dit beter is om Philida en haar kinders te verkoop.

Die roman begin waar Philida by die drostdy op Stellenbosch ’n klag teen haar baas gaan lê, ongehoorde optrede vir ’n slawevrou, optrede wat haar duur te staan kom: Philida en haar kinders word in 1833 deur Brink op ’n slaweveiling op Worcester verkoop. Die Britse regering stel kort daarna die slawe vry, maar Philida is vir vier jaar by haar nuwe eienaar, Meester de la Bat, ingeboek.

Die swaarkry en vernedering van baie jare het Philida egter gebrei en op ’n dag eien sy vir haarself vryheid toe. Saam met die Moslem-slaaf, Labyn, trek sy deur die barre Karoo na die verre Gariep – “die grote Gariep: hy is die hele land en die hele wêreld …die rivier in onse binneste. My Gariep…” dink Philida. “Hier in sy nabyte is ons almal saam.”

Philida is ’n versetsroman – maar dit is ook ’n bevrydingsroman. Dit demonstreer wat vryheid beteken, en óók wat aan die kern van baasskap lê. En alhoewel daar onthutsende tonele is, is daar ook oomblikke van teerheid en humor. En boweal, die stem van ’n meesterverteller.

’n Interessante aspek van die roman is dat Brink gebruik maak van geskiedkundige feite wat een van sy voorsate insluit.

Many cultures identify mourning as the very source of poetry and music, what Elizabeth Bishop calls the art of losing. That might well be the title of this collection. Not every poem is cornered with death, but all are about loss. The poems chosen traverse a surprisingly wide range of emotions from despair to joy, resignation to anger, all articulated in language of the greatest power and beauty . All the major verse forms of mourning are represented here: epitaph, requiem and lament. Three great elergies by Milton, Whitman and Rilke are surrounded by a wide variety of shorter poems. Naturally, the pathos of death predominates, but its comedy has not been neglected, whether in the savage poems of World War I or the gentle teasing of seventeenth-century satire. Poets include: Akhmatova, Auden, Bishop, Brodsky, Browning, Carew, Cory, Cowley, Dickinson, Donne, Dryden, Dyer, Fletcher, Graves, Gurney, Hardy, Harrison, Herrick, Hopkins, Horace, King, Leopardi, Lowell, MacCaig, Mandelstam, Milosz, Philips, Propertius, Roethke, Smith, Tennyson, Dylan Thomas, Edward Thomas and Wordsworth.

The first English-language edition of a major work by George Sand. Translated by the winner of the 1994 BOMC-PEN Translation Award. "A courageous work, nowadays unjustly neglected". -- Renee Winegarten "Sand develops her most advanced political, social and sexual views in this classic work". -- Feminist Bookstore News

In one volume, the two short-story collections that established Kate Chopin as one of America's best-loved realist writers.

Henry James called The Blithedale Romance "the lightest, the brightest, the liveliest" of Nathaniel Hawthorne's novels."

Written in one of the most productive periods of Hawthorne's career, The Blithedale Romance was published a year after The House of the Seven Gables and two years after his masterpiece The Scarlet Letter. With The Blithedale Romance, Hawthorne writes fully in his own time, not haunting his characters with the American past. Drawn from his stay at Brook Farm, a communal experiment in living the pastoral life, this engaging story touches on many of the issues of Hawthorne's day, from brotherhood to women's rights and socialism to mesmerism and spiritualism.

Published in 1852, The Blithedale Romance remains a captivating work about politics, love, the supernatural, and idealism, written with Hawthorne's sharp wit and deep intelligence.

A historical adventure reminiscent of Sir Walter Scott’s Waverley romances, Cooper’s novel centers on Harvey Birch, a common man wrongly suspected of being a spy for the British.

These short fiction and prose pieces display the variety of Twain's imaginative invention, his diverse talents, and his extraordinary emotional range. Twain was a master of virtually every prose genre; in fables and stories, speeches and essays, he skilfully adapted, extended or satirized literary conventions, guided only by his unruly imagination. From the comic wit that sparkles in maxims from 'Pudd'nhead Wilson's Calendar,' to the parodic perfection of 'An Awful - Terrible Medieval Romance,' to the satirical delights of The Innocents Abroad and Roughing It; from the warm nostalgia of 'Early Days' to the bitter, brooding tone of 'The Man That Corrupted Hadleyburg' to the anti-imperial vehemence of 'To the Person Sitting in the Darkness' and the poignant grief expressed in 'Death of Jean', Twain emerges in this volume in many guises, all touched by genius.

This classic literary critique of turn-of-the-century capitalism in the United States reveals Norris's powerful story of an obsessed trader intent on cornering the wheat market and the consequences of his unchecked greed.

This selection of more than forty poems from a reading figure of the Harlem Renaissance includes both uncompromising indictments of racial injustice and celebrations of the triumphs of African-Americans.

From setting foot in Asia in 1849 (or was it 1845?) as Anna Crawford (or was it Anna Edwards?) to waltzing with Yul Brynner in glorious technicolor, Anna Leonowens and her romanticized experiences as the only Westerner behind the walls of Nang Harm (the walled harem of the king of Siam) have had a long, colourful, and often controversial existence.

The final novel in Cooper’s epic, The Prairie depicts Natty Bumppo at the end of his life, still displaying his indomitable strength and dignity.

A candid inquiry into the intertwining of religious and sexual fervor, and a telling portrait of the United States at the end of the nineteenth century, this novel foreshadows the rise of naturalism in American literature.

Alger’s characteristic theme of youths achieving the American dream through hard work, resistance to temptation, and goodwill is presented in these two tales that reflect nineteenth-century life.

The story of a philandering, dishonest Boston journalist and the woman who divorces him, this is the first serious treatment of divorce in American writing and a powerful example of realism in literature.

In the picaresque tradition of Baccaccio, Rabelais, Cervantes, and Laurence Sterne, Jacques the Fatalist is an 18th-century French novel relating the adventures of a servant and his master as they journey through France on horseback. Around the central thread of Jacques' humorous narration of his romantic affairs, the author of the Encyclopedia and Rameau's Nephew fashions a signal work of innovative fiction that slyly investigates philosophical and literary questions such as art, time, reality, freedom, and the definition of the novel itself.

What happens on this journey? Jacques tells his master his adventures; this story in turn is contantly interrupted by other stories or by Diderot, as narrator, who comes in to tease the reader about the future course of the novel. Diderot is eager to be agreeable, so long as the reader realized that the fabricator of a novel can as easily proceed in this way as in that. The book foreshadows a number of 19th and 20th century literary techniques, exchanging the rational and classical for shifting perspectives of time, personality, and viewpoint.

In J. Robert Loy's smooth and accurate translation (the first in English except for a privately printed one of 1798), the reader can now discover the originality of Diderot's witty masterpiece. It is a book that no one interested in the evolution of modern fiction, or the ideas of the Enlightenment, will want to miss.

The Portable Stephen Crane allows us to appreciate the full scope and power of this writer's vision. It contains three complete novels—Maggie: A Girl of the Streets, George's Mother, and Crane's masterpiece, The Red Badge of Courage; nineteen short stories and sketches, including "The Blue Hotel" and "The Open Boat", a barely fictionalized account of his own escape from shipwreck while covering the Cuban revolt against Spain; the previously unpublished essay "Above All Things"; letters and poems, plus a critical essay and notes by the noted Crane scholar Joseph Katz.

Thomas Love Peacock is literature's perfect individualist. He has points in common with Aristophanes, Plato, Rabelais, Voltaire, and even Aldous Huxley, but resembles none of them; we can talk of the satirical novel of ideas, but his satire is too gay and good-natured, his novel too rambling, and his ideas too jovially destructive for the label to stick.

Emma es una novela en la que peculiarmente el dialogo es accion y la accion es dialogo, la verdad es mentira y la mentira verdad, donde reir y llorar es lo mismo. La historia de una joven inglesa de la clase media alta cuyas magnificas dotes intelectuales la precipitan a amanar las relaciones amorosas de los demas pensando que esta construyendo una pequena sociedad perfecta hasta que descubre con una desdicha transitoria que lo que ha construido es su perfecta pequenez.