The Thought Police, Doublethink, Newspeak, Big Brother - 1984 itself: these terms and concepts have moved from the world of fiction into our everyday lives. They are central to our thinking about freedom and its suppression; yet they were newly created by George Orwell in 1949 as he conjured his dystopian vision of a world where totalitarian power is absolute. In this novel, continuously popular since its first publication, readers can explore the dark and extraordinary world he brought so fully to life. The principal characters who lead us through that world are ordinary human beings like ourselves: Winston Smith and Julia, whose falling in love is also an act of rebellion against the Party. Opposing them are the massed powers of the state, which watches its citizens on all sides through technology now only too familiar to us. No-one is free from surveillance; the past is constantly altered, so that there is no truth except the most recent version; and Big Brother, both loved and feared, controls all. Even the simple act of keeping a diary - as Winston does - is punishable by death. In Winston's battle to keep his freedom of thought, he has a powerful adversary in O'Brien, who uses fear and pain to enter his very thought processes. Does 2+2 = 4? Or is it 5? We find out in Room 101. Nineteen Eighty-Four was Orwell's last novel; but the world he created is always with us, as successive generations of readers find within it a mirror for their own times and a warning for the future. Our edition also includes the following selection of Orwell's essays, column extracts and broadcasts: A Hanging; Spilling the Spanish Beans; Reviews of Jack London, The Iron Heel; H. G. Wells, When the Sleeper Awakes; Aldous Huxley, Brave New World; Ernest Bramah, The Secret of the League ; England Your England; Looking Back on the Spanish War; Arthur Koestler; The Prevention of Literature; Politics and the English Language; Why I Write; Politics Vs Literature; Sir Walter Raleigh; The Three Super-States of the Future; Persecution of Writers in USSR; Literature and Totalitarianism; Imaginary Interview: George Orwell and Jonathan Swift

The Remembered Dead explores the ways poets of the First World War - and later poets writing in the memory of that war - address the difficult question of how to remember, and commemorate, those killed in conflict. It looks closely at the way poets struggled to meaningfully represent dying, death, and the trauma of witness, while responding to the pressing need for commemoration. The authors pay close attention to specific poems while maintaining a strong awareness of literary and philosophical contexts. The poems are discussed in relation to modernism and myth, other forms of commemoration (such as photographs and memorials), and theories of cultural memory. There is fresh analysis of canonical poets which, at the same time, challenges the confines of the canon by integrating discussion of lesser-known figures, including non-combatants and poets of later decades. The final chapter reaches beyond the war's centenary in a discussion of one remarkable commemoration of Wilfred Owen.

Introduction and Notes by Dr Sally Minogue, Canterbury Christ Church University College. Jane Eyre ranks as one of the greatest and most perennially popular works of English fiction. Although the poor but plucky heroine is outwardly of plain appearance, she possesses an indomitable spirit, a sharp wit and great courage. She is forced to battle against the exigencies of a cruel guardian, a harsh employer and a rigid social order. All of which circumscribe her life and position when she becomes governess to the daughter of the mysterious, sardonic and attractive Mr Rochester. However, there is great kindness and warmth in this epic love story, which is set against the magnificent backdrop of the Yorkshire moors. Ultimately the grand passion of Jane and Rochester is called upon to survive cruel revelation, loss and reunion, only to be confronted with tragedy.

With an Introduction and Notes by Dr Sally Minogue Elizabeth Barrett Browning was such an acclaimed poet in her own lifetime that she was suggested as a candidate for the Poet Laureateship when Wordsworth died in 1850. Yet today we have only a limited knowledge of her considerable life's work as a poet, in part because of a lack of representative but accessible editions of her work. Readers will find here not only her well-known sonnet sequence of love poems, Sonnets From the Portuguese, but also lesser known sonnets, some in praise of the cross-dressing bohemian writer George Sand, others to contemporary poets and artists. Her religious and spiritual poetry echoes that of the Metaphysical poets. A different voice emerges in her social and political protest poems, such as `The Cry of the Children' and `The Runaway Slave at Pilgrim's Point'. Her experimental ballads allowed her to develop a distinctive way of writing about women within an apparently conventional form. In the outstanding work of her maturity, Aurora Leigh, the woman's voice takes centre stage. This `novel-poem' is full of verve and interest, with a female poet-hero who casts a caustic eye on life and on her fellow men - and women. We all think we know the story of Elizabeth Barrett Browning - the mysterious illness which enclosed her in her room, her over-loving but imperious father, and her romantic, secret marriage to the poet Robert Browning and their life together in Italy. But this comprehensive selection of her poetry tells the real story of her sustained creative life as a poet, which began with her childhood poetic ambitions and ended only with her death. All the major aspects of her poetry are represented in this accessible edition which is well-annotated and contextualised, with a wide-ranging introduction which covers Barrett Browning's poetic and intellectual life as well as her personal one. Recent critical re-readings, including major feminist reassessments, of her poetry are covered in the introduction, with helpful suggestions for further reading.

With an Introduction and Notes by Dr Sally Minogue, Department of English, Canterbury Christ Church University College. Based on Charlotte Bronte's personal experience as a teacher in Brussels, Villette is a moving tale of repressed feelings and subjection to cruel circumstance and position, borne with heroic fortitude. Rising above the frustrations of confinement within a rigid social order, it is also the story of a woman's right to love and be loved.

With an Introduction and Notes by Sally Minogue The Shirley of the title is a woman of independent means; her friend Caroline is not. Both struggle with what a woman's role is and can be. Their male counterparts - Louis, the powerless tutor, and Robert, his cloth-manufacturing brother - also stand at odds to society's expectations. The novel is set in a period of social and political ferment, featuring class disenfranchisement, the drama of Luddite machine-breaking, and the divisive effects of the Napoleonic Wars. But Charlotte Brontes particular strength lies in exploring the hidden psychological drama of love, loss and the quest for identity. Personal and public agitation are brought together against the dramatic backdrop of her native Yorkshire. As always, Bronte challenges convention, exploring the limitations of social justice whilst telling not one but two love stories.

Feminist criticism has come a long way in the last twenty years. Its development has been rapid, its snowball progress picking up elements of structuralism, deconstruction and psychoanalytic criticism; just as rapidly it has been shedding its own early theories and methodologies. Now it is a critical orthodoxy with its own established canonical texts. Now is the time, then, to begin to question that orthodoxy. In "Problems for Feminist Criticism" five women critics seek to do that, in a spirit of enquiry whose central point of focus is the literature for which feminist critics have offered a re-reading.

By reference to a wide range of writers, from Milton to the contemporary poet, with a strong emphasis on the nineteenth-century novel, the contributors ask what we may be losing from literature by adopting the feminist orthodoxy. Each chapter provides a survey of feminist critical approaches to its subject and highlights the inherent problems. The book frees the way forward for critics who have found much that is stimulating and revealing in feminist approaches to literature, but who find its proscriptiveness potentially reductive. It shows how literature may have the flexibility to absorb and benefit from new critical approaches, whilst still retaining its own life, never quite to be contained in criticism s theories and methodologies.

A Room of One's Own (1929) has become a classic feminist essay and perhaps Virginia Woolf's best known work; The Voyage Out (1915) is highly significant as her first novel. Both focus on the place of women within the power structures of modern society. The essay lays bare the woman artist's struggle for a voice, since throughout history she has been denied the social and economic independence assumed by men. Woolf's prescription is clear: if a woman is to find creative expression equal to a man's, she must have an independent income, and a room of her own. This is both an acute analysis and a spirited rallying cry; it remains surprisingly resonant and relevant in the 21st century. The novel explores these issues more personally, through the character of Rachel Vinrace, a young woman whose 'voyage out' to South America opens up powerful encounters with her fellow-travellers, men and women. As she begins to understand her place in the world, she finds the happiness of love, but also sees its brute power. Woolf has a sharp eye for the comedy of English manners in a foreign milieu; but the final undertow of the novel is tragic as, in some of her finest writing, she calls up the essential isolation of the human spirit.

With an Introduction and Notes by Dr Sally Minogue. The Professor is Charlotte Brontes first novel, in which she audaciously inhabits the voice and consciousness of a man, William Crimsworth. Like Jane Eyre he is parentless; like Lucy Snowe in Villette he leaves the certainties of England to forge a life in Brussels. But as a man, William has freedom of action, and as a writer Bronte is correspondingly liberated, exploring the relationship between power and sexual desire. William's first person narration reveals his attraction to the dominating directress of the girls' school where he teaches, played out in the school's 'secret garden'. Balanced against this is his more temperate relationship with one of his pupils, Frances Henri, in which mastery and submission interplay. The Professor was published only after Charlotte Brontes death; today it gives us a fascinating insight into the first stirrings of her supreme creative imagination.

The Remembered Dead explores the ways poets of the First World War - and later poets writing in the memory of that war - address the difficult question of how to remember, and commemorate, those killed in conflict. It looks closely at the way poets struggled to meaningfully represent dying, death, and the trauma of witness, while responding to the pressing need for commemoration. The authors pay close attention to specific poems while maintaining a strong awareness of literary and philosophical contexts. The poems are discussed in relation to modernism and myth, other forms of commemoration (such as photographs and memorials), and theories of cultural memory. There is fresh analysis of canonical poets which, at the same time, challenges the confines of the canon by integrating discussion of lesser-known figures, including non-combatants and poets of later decades. The final chapter reaches beyond the war's centenary in a discussion of one remarkable commemoration of Wilfred Owen.

Elizabeth Gaskell's first novel depicts nothing less than the great clashes between capital and labour, which arose from rapid industrialisation and problems of trade in the mid-nineteenth century. But these clashes are dramatized through personal struggles. John Barton has to reconcile his personal conscience with his socialist duty, risking his life and liberty in the process. His daughter Mary is caught between two lovers, from opposing classes - worker and manufacturer. And at the heart of the narrative lies a murder which implicates them all. Mary Barton was published in 1848, at a time of great social ferment in Europe, and it reflects its revolutionary moment through an English lens. Elizabeth Gaskell wrote her first novel about the world in which she lived - Manchester at the height of the industrial revolution. As the wife of a Unitarian minister she was solidly middle-class; but she also had close contact with the working classes around her, sympathised with them, and represented their extreme distresses in her fiction. She is radical in taking on their dialect, imagining the realities of their lives, and placing a working woman at the centre of her fiction. If to our eyes her vision remains limited, it was an honest vision, for which she was much criticised in her own time, by her own class.