This exploration of gender and property ownership in eight important novels argues that property is a decisive undercurrent in narrative structures and modes, as well as an important gender signature in society and culture. Tim Dolin suggests that the formal development of nineteenth-century domestic fiction can only be understood in the context of changes in the theory and laws of property: indeed femininity and its representation cannot be considered separately from property relations and their reform. He presents original readings of novels in which a woman owns, acquires or loses property, focusing on exchanges between patriarchal cultural authority, the 'woman question' and narrative form, and on the place of domestic fiction in a culture in which property relations and gender relations are subject to radical review. Each chapter revolves around a representative text, but refers substantially to other material, both other novels and contemporary social, legal, political and feminist commentary.

This exploration of gender and property ownership in eight important novels argues that property is a decisive undercurrent in narrative structures and modes, as well as an important gender signature in society and culture. Tim Dolin suggests that the formal development of nineteenth-century domestic fiction can only be understood in the context of changes in the theory and laws of property: indeed femininity and its representation cannot be considered separately from property relations and their reform. He presents original readings of novels in which a woman owns, acquires or loses property, focusing on exchanges between patriarchal cultural authority, the 'woman question' and narrative form, and on the place of domestic fiction in a culture in which property relations and gender relations are subject to radical review. Each chapter revolves around a representative text, but refers substantially to other material, both other novels and contemporary social, legal, political and feminist commentary.

Part of Penguin's beautiful hardback Clothbound Classics series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design. When Tess Durbeyfield is driven by family poverty to claim kinship with the wealthy D'Urbervilles and seek a portion of their family fortune, meeting her 'cousin' Alec proves to be her downfall. A very different man, Angel Clare, seems to offer her love and salvation, but Tess must choose whether to reveal her past or remain silent in the hope of a peaceful future. With its sensitive depiction of the wronged Tess and powerful criticism of social convention, Tess of the D'Urbervilles is one of the most moving and poetic of Hardy's novels.

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‘How could I be expected to know? I was a child when I left this house four months ago. Why didn’t you tell me there was danger? Why didn’t you warn me?’

When Tess Durbeyfield is driven by family poverty to claim kinship with the wealthy D’Urbervilles and seek a portion of their family fortune, meeting her ‘cousin’ Alec proves to be her downfall. A very different man, Angel Clare, seems to offer her love and salvation, but Tess must choose whether to reveal her past or remain silent in the hope of a peaceful future. With its sensitive depiction of the wronged Tess and powerful criticism of social convention, Tess of the D’Urbervilles is one of the most moving and poetic of Hardy’s novels.

Based on the three-volume first edition that shocked readers when first published in 1891, this edition includes as appendices: Hardy’s Prefaces, the Landscapes of Tess, episodes originally censored from the Graphic periodical version and a selection of the Graphic illustrations.

Elfride Swancourt is the daughter of the Rector of Endelstow, a remote sea-swept parish in Corwall based on St Juliot, where Hardy began A Pair of Blue Eyes during the beginning of his courtship of his first wife, Emma. Blue-eyed and high-spirited, Elfride has little experience of the world beyond, and becomes entangled with two men: the boyish architect, Stephen Smith, and the older literary man, Henry Knight. The former friends become rivals, and Elfride faces an agonizing choice.
Written at a crucial time in Hardy's life, A Pair of Blue Eyes expresses more directly than any of his novels the events and social forces that made him the writer he was. Elfride's dilemma mirrors the difficult decision Hardy himself had to make with this novel: to pursue the profession of architecture, where he was established, or literature, where he had yet to make his name. This updated edition contains a new introduction, bibliography, and chronology.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Under the Greenwood Tree is Thomas Hardy’s one and only rural idyll, a startling contrast to his other Wessex tales. In Mellstock, its surrounding farms and woodlands, the story interweaves the lingering courtship of Dick Dewy and sweet Fancy Day with the battle for survival of the old Mellstock String Choir – the last in the county – against the mechanical church organ of the new vicar, the Reverend Maybold.

Under the Greenwood Tree appears to be pastoral romance at its most sunlit and good humoured, and has been called the ‘most nearly flawless of Hardy’s novels’. Yet, as Tim Dolin shows in his Introduction, there is a darker side to this paradise, seen particularly in the conflicts arising over anachronistic customs and rituals, and the ambiguities surrounding Fancy’s forthcoming marriage. For Hardy, who drew out the associations with his own childhood in later revisions, the novel came to epitomize a past that had been forever lost to him and to England.

This new Penguin Classics edition, based on the two-volume first edition of 1872, includes Appendices which reflect the unique textual history of the novel.

Edited with an Introduction and Notes by Tim Dolin

This tale of an opportunistic yet ultimately loyal adventuress, who begins life humbly and ends as the wife of a rakish aristocrat, will surprise readers of Hardy’s more familiar, and darker, Wessex novels.

'I am only just returned to a sense of the real world about me, for I have been reading Villette, a still more wonderful book than Jane Eyre.' George Eliot Lucy Snowe, in flight from an unhappy past, leaves England and finds work as a teacher in Madame Beck's school in 'Villette'. Strongly drawn to the fiery autocratic schoolmaster Monsieur Paul Emanuel, Lucy is compelled by Madame Beck's jealous interference to assert her right to love and be loved. Based in part on Charlotte Bronte's experience in Brussels ten years earlier, Villette (1853) is a cogent and dramatic exploration of a woman's response to the challenge of a constricting social environment. Its deployment of imagery comparable in power to that of Emily Bronte's Wuthering Heights, and its use of comedy-ironic or exuberant-in the service of an ultimately sombre vision, make Villette especially appealing to the modern reader. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Elizabeth Gaskell's Ruth (1853) was the first mainstream novel to make a fallen woman its eponymous heroine. It is a remarkable story of love, of the sanctuary and tyranny of the family, and of the consequences of lies and deception, one that lays bare Victorian hypocrisy and sexual double-standards. Shocking to contemporary readers, its radical utopian vision of "a pure woman faithfully presented" predates Hardy's Tess by nearly forty years. This fully revised and corrected new edition is based on the three-volume first edition of 1853, collated with the one-volume 1855 edition. Tim Dolin's fascinating new introduction challenges the view of Ruth as one of Gaskell's weaker novels and explores its radicalism and cultural influence, highlighting the remarkable story of love, family, and hypocrisy that it tells. In addition, the book includes an up-to-date bibliography, a chronology of Gaskell's life and work, and invaluable notes that shed much light on the book's historical, religious, and literary allusions and points of significance.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1920 edition. Excerpt: ...her? No lady would rove about the heath at all hours of the day and night as she does. But that's not all of it. There was something queer between her and Thomasin's husband at one time--I am as sure of it as that I stand here.' 'Eustacia has told me. He did pay her a little attention a year ago; but there's no harm in that. I like her all the better.' 'Clym, ' said his mother with firmness, 'I have no proofs against her, unfortunately. But if she makes you a good wife, there has never been a bad one." 'Believe me, you are almost exasperating, ' said Yeobright vehemently. 'And this very day I had intended to arrange a meeting between you. But you give me no peace; you try to thwart my wishes in everything.' 'I hate the thought of any son of mine marrying badly I wish I had never lived to see this; it is too much for me--it is more than I thought ' She turned to the window. Her breath was coming quickly, and her lips were pale, parted, and trembling. 'Mother, ' said Clym, 'whatever you do, you will always be dear to me--that you know. 'But one thing I have a right to say, which is, that at my age I am old enough to know what is best for me.' Mrs. Yeobright remained for some time silent and shaken, as if she could say no more. Then she replied, 'Best? Is it best for you to injure your prospects for such a voluptuous, idle woman as that? Don't you see that by the very fact of your choosing her you prove that you do not know what is best for you? You give up your whole thought--you set your whole soul--to please a woman.' 'I do. And that woman is you.' 'How can you treat me so flippantly ' said his mother, turning again to him with a tearful look. 'You are unnatural, Clym, and I did not expect it.' 1 Very likely, ' said he cheerlessly. 'You did not know...