This rich introduction to the art of Virginia Woolf contains the complete texts of five short stories and eight essays, together with substantial excerpts from the longer fiction and nonfiction. An ideal volume for those encountering Woolf for the first time as well as for those already devoted to her work. Edited and with a Preface by Mitchell A. Leaska.

Peter Stansky paints a picture of the changing world in which the Bloomsbury set moved as the watershed to a new and more open society where for example E.M. Forster could write about love between men, and new artforms were in full bloom.

What accounts for the power of stories to both entertain and illuminate? This question has long compelled the attention of storytellers and students of literature alike, and over the past several decades it has opened up broader dialogues about the nature of culture and interpretation. This third edition of the bestselling Essentials of the Theory of Fiction provides a comprehensive view of the theory of fiction from the nineteenth century through modernism and postmodernism to the present. It offers a sample of major theories of fictional technique while emphasizing recent developments in literary criticism. The essays cover a variety of topics, including voice, point of view, narration, sequencing, gender, and race. Ten new selections address issues such as oral memory in African American fiction, temporality, queer theory, magical realism, interactive narratives, and the effect of virtual technologies on literature. For students and generalists alike, Essentials of the Theory of Fiction is an invaluable resource for understanding how fiction works. Contributors. M. M. Bakhtin, John Barth, Roland Barthes, Wayne Booth, John Brenkman, Peter Brooks, Catherine Burgass, Seymour Chatman, J. Yellowlees Douglas, Rachel Blau DuPlessis, Wendy B. Faris, Barbara Foley, E. M. Forster, Joseph Frank, Joanne S. Frye, William H. Gass, Henry Louis Gates Jr., Gérard Genette, Ursula K. Heise, Michael J. Hoffman, Linda Hutcheon, Henry James, Susan S. Lanser, Helen Lock, Georg Lukács, Patrick D. Murphy, Ruth Ronen, Joseph Tabbi, Jon Thiem, Tzvetan Todorov, Virginia Woolf

The Grand Babylon Hotel is an exclusive London establishment, and American millionaire Theodore Racksole, visiting the hotel with his spirited 23-year-old daughter Nella, decides to buy the place. What he hasn't counted on is having to deal with a criminal conspiracy whose purposes are not at all clear, and events take an unexpected turn as Theodore and Nella play detective. Replete with evil villains, physical dangers, and secret passages, The Grand Babylon Hotel is a mesmerizing thriller that will be enjoyed by mystery lovers everywhere.

A NPR CONCIERGE BEST BOOK OF THE YEAR "Jane fans rejoice! . . . Exceptional storytelling and a true delight." —Helen Simonson, author of the New York Times bestselling novels Major Pettigrew's Last Stand and The Summer Before the War Mary, the bookish ugly duckling of Pride and Prejudice’s five Bennet sisters, emerges from the shadows and transforms into a desired woman with choices of her own. What if Mary Bennet’s life took a different path from that laid out for her in Pride and Prejudice? What if the frustrated intellectual of the Bennet family, the marginalized middle daughter, the plain girl who takes refuge in her books, eventually found the fulfillment enjoyed by her prettier, more confident sisters? This is the plot of Janice Hadlow's The Other Bennet Sister, a debut novel with exactly the affection and authority to satisfy Jane Austen fans. Ultimately, Mary’s journey is like that taken by every Austen heroine. She learns that she can only expect joy when she has accepted who she really is. She must throw off the false expectations and wrong ideas that have combined to obscure her true nature and prevented her from what makes her happy. Only when she undergoes this evolution does she have a chance at finding fulfillment; only then does she have the clarity to recognize her partner when he presents himself—and only at that moment is she genuinely worthy of love. Mary’s destiny diverges from that of her sisters. It does not involve broad acres or landed gentry. But it does include a man; and, as in all Austen novels, Mary must decide whether he is the truly the one for her. In The Other Bennet Sister, Mary is a fully rounded character—complex, conflicted, and often uncertain; but also vulnerable, supremely sympathetic, and ultimately the protagonist of an uncommonly satisfying debut novel.