Critically acclaimed author of The Ashes Trilogy, Ilsa J. Bick takes her new Dark Passages series to an alternative Victorian London where Emma Lindsay continues to wade through blurred realities now that she has lost everything: her way, her reality, her friends. In this London, Emma will find alternative versions of her friends from the White Space and even Arthur Conan Doyle. Emma Lindsay has nowhere to go. Her friends are dead. Eric and Casey are lost to the Dark Passages. Emma commands the cynosure, a device that allows for safe passage between the Many Worlds, to put her where she might find her friends again. But Emma wakes up in the body of Little Lizzie, all grown up. And in this alternative Victorian London, Elizabeth McDermott is mad. Elizabeth's physician, Dr. Kramer, has drugged her to allow Emma—who's blinked to this London before—to emerge as the dominant personality. Elizabeth is dying, and if Emma can't find a way out, everyone as they exist in this London will die with her.

Critically acclaimed author of The Ashes Trilogy, Ilsa J. Bick takes her new Dark Passages series to an alternative Victorian London where Emma Lindsay continues to wade through blurred realities now that she has lost everything: her way, her reality, her friends. In this London, Emma will find alternative versions of her friends from the White Space and even Arthur Conan Doyle. Emma Lindsay has nowhere to go. Her friends are dead. Eric and Casey are lost to the Dark Passages. Emma commands the cynosure, a device that allows for safe passage between the Many Worlds, to put her where she might find her friends again. But Emma wakes up in the body of Little Lizzie, all grown up. And in this alternative Victorian London, Elizabeth McDermott is mad. Elizabeth's physician, Dr. Kramer, has drugged her to allow Emma—who's blinked to this London before—to emerge as the dominant personality. Elizabeth is dying, and if Emma can't find a way out, everyone as they exist in this London will die with her.

In a famous passage in The Red and the Black, the French writer Stendhal described the novel as a mirror being carried along a roadway. In the twentieth century this was derided as a naïve notion of realism. Instead, modern writers experimented with creative forms of invention and dislocation. Deconstructive theorists went even further, questioning whether literature had any real reference to a world outside its own language, while traditional historians challenged whether novels gave a trustworthy representation of history and society. In this book, Morris Dickstein reinterprets Stendhal's metaphor and tracks the different worlds of a wide array of twentieth-century writers, from realists like Theodore Dreiser, Sinclair Lewis, Edith Wharton, and Willa Cather, through modernists like Franz Kafka and Samuel Beckett, to wildly inventive postwar writers like Saul Bellow, Günter Grass, Mary McCarthy, George Orwell, Philip Roth, and Gabriel García Márquez. Dickstein argues that fiction will always yield rich insight into its subject, and that literature can also be a form of historical understanding. Writers refract the world through their forms and sensibilities. He shows how the work of these writers recaptures--yet also transforms--the life around them, the world inside them, and the universe of language and feeling they share with their readers. Through lively and incisive essays directed to general readers as well as students of literature, Dickstein redefines the literary landscape--a landscape in which reading has for decades been devalued by society and distorted by theory. Having begun with a reconsideration of realism, the book concludes with several essays probing the strengths and limitations of a historical approach to literature and criticism.

"Gregory Maguire does for the dark and stormy night what he did for witches in Wicked." — The New York Times Book Review A terrible storm is raging, and Dinah is huddled by candlelight with her brother, sister, and cousin Gage, who is telling a very unusual tale. It’s thestory of What-the-Dickens, a newly hatched orphan creature who finds he has an attraction to teeth, a crush on a cat named McCavity, and a penchant for getting into trouble. One day he happens upon a feisty girl skibberee working as an Agent of Change — trading coins for teeth — and learns of a dutiful tribe of tooth fairies to which he hopes to belong. As his tale unfolds, however, both What-the-Dickens and Dinah come to see that the world is both richer and far less sure than they ever imagined.