Sir Arthur Thompson Quiller-Couch ("Q," 1863-1944) was an English poet, novelist, and anthologist noted for his compilation of The Oxford Book of English Verse 1250-1900 and The Oxford Book of Ballads. Poison Island is an adventure story about a boy in 1813 England who finds a treasure map then sails an island near Jamaica to find the treasure with five adults.

This volume contains "The Laird's Luck," "Three Men of Badajos," "The Two Scouts," "Midsummer Fires," "Captain Dick and Captain Jacka," and many more.

Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children.

The book has no illustrations or index. Purchasers are entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Subjects: Authorship; English literature; English language; English philology; Language Arts

Strange tales from a master of the short story
There can be little doubt that the ideal length for the ghostly yarn is the short story. The writing of shorter fiction is a specific talent and it's finest exponents, M. R. James, Rudyard Kipling, Sir Arthur Conan Doyle and Sir Arthur Quiller-Couch, the author of this volume of tales of the bizarre, are well-known to all. Aficionados of the genre know that supernatural fiction was exceptionally popular during the late 19th and early 20th centuries. The proliferation of periodicals at that time offered numerous opportunities for the publication of the ghost stories and the quality of the writing of these justifiably well regarded authors ensured that supernatural fiction entered a 'golden age.' Quiller-Couch, who often published under the distinctive single letter pseudonym 'Q, ' was the archetypal literary man of the age. He may have belonged to an elite, but he was at ease with the writing of novels, short fiction, criticism, non-fiction, poetry and the compiling of anthologies. Indeed, it is widely accepted that Quiller-Couch's most significant achievement was his learned compilation of the huge 'Oxford Book of English Verse.' Those unfamiliar with Quiller-Couch's short fiction will find this special Leonaur collection to be a revelation and those who already know his work will value an volume dedicated solely to his tales of the ghostly and weird. This book contains forty-two masterful stories including 'A Blue Pantomime, ' 'A Dark Mirror, ' 'The Haunted Dragoon, ' 'Not Here, O Apollo, ' 'Oceanus, ' 'Old Aeson' and many more.
Leonaur editions are newly typeset and are not facsimiles; each title is available in softcover and hardback with dustjacket; our hardbacks are cloth bound and feature gold foil lettering on their spines and fabric head and tail bands.

For a dozen years Major Narcisse Vigoureux had been, for an unmarried man, an exceedingly happy one. If you ask me how an officer bearing such a name happened in command of a British garrison, I answer that he was not a Frenchman, but a Channel Islander of good Jersey descent; and this again helped him to understand the folk over whom he ruled. The wrong-doers feared him; but they were few. By the rest of the population, including his soldiers, he was beloved, respected, not a little envied. For a bachelor he mingled with zest in the small social amusements of Garland Town, the capital of the Islands. He shone at picnics and water-parties. He played a fair hand at whist. His manner towards ladies was deferential; towards men, dignified without a trace of patronage or self-conceit. All voted him a good fellow. At first, indeed -- for he practised small economies, and his linen, though clean, was frayed -- they suspected him of stinginess, until by accident the Vicar discovered that a great part of his pay went to support his dead brother's family -- a widow and two girls who lived at Notting Hill, London, in far from affluent circumstances.

In spite of this the Commandant's lot might fairly have been called enviable until the day which terminated the ninety-nine years' lease upon which the Duke held the Islands. Everyone took it for granted that he would apply, as his predecessors had twice applied, for a renewal. But, no; like a bolt from the blue came news that the Duke, an old man, had waived his application in favour of an unknown purchaser -- unknown, that is to say, in the Islands -- a London banker, recently created a baronet, by name Sir Caesar Hutchins

For a dozen years Major Narcisse Vigoureux had been, for an unmarried man, an exceedingly happy one. If you ask me how an officer bearing such a name happened in command of a British garrison, I answer that he was not a Frenchman, but a Channel Islander of good Jersey descent; and this again helped him to understand the folk over whom he ruled. The wrong-doers feared him; but they were few. By the rest of the population, including his soldiers, he was beloved, respected, not a little envied. For a bachelor he mingled with zest in the small social amusements of Garland Town, the capital of the Islands. He shone at picnics and water-parties. He played a fair hand at whist. His manner towards ladies was deferential; towards men, dignified without a trace of patronage or self-conceit. All voted him a good fellow. At first, indeed -- for he practised small economies, and his linen, though clean, was frayed -- they suspected him of stinginess, until by accident the Vicar discovered that a great part of his pay went to support his dead brother's family -- a widow and two girls who lived at Notting Hill, London, in far from affluent circumstances. In spite of this the Commandant's lot might fairly have been called enviable until the day which terminated the ninety-nine years' lease upon which the Duke held the Islands. Everyone took it for granted that he would apply, as his predecessors had twice applied, for a renewal. But, no; like a bolt from the blue came news that the Duke, an old man, had waived his application in favour of an unknown purchaser -- unknown, that is to say, in the Islands -- a London banker, recently created a baronet, by name Sir Caesar Hutchins

Collected for the first time, classic short stories set during the clash of Wellington's British & Napoleon's French armies Join the experiences of common infantry men in war torn Spain. Here are tales of the siege of Badojoz, of retreating armies, guerrillas, spies and lost gold. This evocative collection concludes with a story of honour lost and found on the bloody fields of Quatre Bras & Waterloo.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and in a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

Sir Arthur Quiller-Couch (1863 1944), who often published under the pen-name of 'Q', was one of the giants of early twentieth-century literature and literary criticism. A novelist and poet who was also a Professor of English, he helped to form the literary tastes of generations of literary students and scholars who came after him. The freshness, enthusiasm and intellectual insight of his work is still evident in his writings nearly a century on. Cambridge University Press is delighted to reissue some of his key texts in this new edition. Shakespeare's Workmanship, first published in 1918, offers detailed readings of Macbeth, A Midsummer Night's Dream, The Merchant of Venice, As You Like It, Hamlet, Pericles and King Henry VIII, Cymbeline, The Winter's Tale and The Tempest, with an account of the story of Falstaff, and a general description of the features of Shakespeare's later plays.

Sir Arthur Quiller-Couch (1863 1944), who often published under the pen-name of 'Q', was one of the giants of early twentieth-century literature and literary criticism. A novelist and poet who was also a Professor of English, he helped to form the literary tastes of generations of literary students and scholars who came after him. The freshness, enthusiasm and intellectual insight of his work is still evident in his writings nearly a century on. Cambridge University Press is delighted to reissue some of his key texts in this new edition.

This volume contains "The Laird's Luck," "Three Men of Badajos," "The Two Scouts," "Midsummer Fires," "Captain Dick and Captain Jacka," and many more.

Originally published in 1920, this book presents chapters 1-4 and 14-22 from Coleridge's Biographia Literaria. Edited by George Sampson, and containing an introduction by the renowned critic and novelist Sir Arthur Quiller-Couch, the text was intended to provide both students of literature and more advanced readers with a selection of accessible passages from Coleridge's prose. Context is given by the inclusion of essays and prefaces from 1800-15 by Wordsworth relating to poetic theory, writings which are the subject of an extensive critical analysis in the Biographia. A list of works by Coleridge and Wordsworth is also incorporated, together with a summary of the chapters omitted by the editor. This book will be of value to anyone with an interest in Romantic literature, English poetry and literary criticism.