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An Address in Havana/Domicilio habanero Cover

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An Address in Havana/Domicilio habanero

Selected Short Stories

by María Elena Llana, translated by Barbara Riess

“Solitary characters, afflicted by real or fictitious fears… a world plagued with absurdities… exceptional stories, told through an ironic perspective with humor and cruelty. Llana stories are a mixture of fantasy, dark humor, and gothic comedy. Her short stories contain a rich and thoroughly entertaining representation of a particular social class in Cuba during the last forty years: the bourgeoisie who struggled to maintain their social status and participated only by default in the construction of the new socialist society. Portraits of family and twisted gender roles abound, within a mysterious and uncanny domestic sphere that is unmistakably set in Havana.” Llana stories are a mixture of fantasy, dark humor, and gothic comedy. Her stories humorously represent a vision of the world through a palpable irony leading up to a subversive guffaw that, because of her scathing wit, may also be read as an anguished holler. This quality is at the heart of Llana’s stories teeming with specters of every type, dramatic or ridiculous, but always efficiently suggestive of circumstances underlying what we take for reality. Her short stories contain a rich and thoroughly entertaining representation of a particular social class in Cuba during the last forty years: the bourgeoisie who struggled to maintain their social status and participated only by default in the construction of the new socialist society. Portraits of family and twisted gender roles abound, within a mysterious and uncanny domestic sphere that is unmistakably set in Havana.

Adventures of Captain Simon Suggs Cover

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Adventures of Captain Simon Suggs

Late of the Tallapoosa Volunteers; Together with Taking the Census and Other Alabama Sketches

Originally published in 1845, Adventures of Captain Simon Suggs is a series of sketches written in part to parody some the campaign literature of the era. The character, Simon Suggs, with his motto, “it is good to be shifty in a new country,” fully incarnates a backwoods version of the national archetypes now know as the confidence man, the grafter, the professional flim-flam artist supremely skilled in the arts by which a man gets along in the world. This classic volume of good humor is set in the rough-and-tumble world of frontier life and politics.

The Adventures of David Simple and Volume the Last Cover

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The Adventures of David Simple and Volume the Last

Sarah Fielding

The Adventures of David Simple (1744), Sarah Fielding's first and most celebrated novel, went through several editions, the second of which was heavily revised by her brother Henry. This edition includes Henry's "corrections" in an appendix. In recounting the guileless hero's search for a true friend, the novel depicts the derision with which almost everyone treats his sentimental attitudes to human nature. Acclaimed as an accurate portrait of mid-eighteenth-century London, The Adventures of David Simple sets forth some provocative feminist ideas. Also included is Fielding's much darker sequel, Volume the Last (1753).

The Adventures of Ferdinand Count Fathom Cover

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The Adventures of Ferdinand Count Fathom

Tobias Smollett

The first novel by a major English writer that is devoted to a thoroughgoing portrait of villainy, The Adventures of Ferdinand Count Fathom chronicles the life of an aberrant criminal character. Filled with striking satiric thrusts at the legal, medical, and military establishments of mid-eighteenth-century Europe and England, the novel reveals Tobias Smollett's capacities as a commentator on contemporary life.

First published in 1753, Ferdinand Count Fathom is an experimental work that explores the relations between history and fiction and introduces, for the first time in the English novel, episodes of Gothic melodrama. Too long neglected and never before available in a carefully prepared scholarly edition, Ferdinand Count Fathom may now be read, understood, and appreciated against the literary and historical background of the eighteenth-century world.

Adventures of Gil Blas of Santillane Cover

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Adventures of Gil Blas of Santillane

Alain Rene Le Sage Jr.

 

Tobias Smollett, in the preface to his first novel, The Adventures of Roderick Random (1748), acknowledges the influence of Alain René Le Sage’s L’Histoire de Gil Blas de Santillane (1715–35 in four volumes) on his work. By far the most successful of “useful and entertaining” romances, Smollett writes, Gil Blas describes “the knavery and foibles of life, with infinite humour and sagacity.” “The following sheets,” he adds significantly, “I have modeled on his plan.”
 
Smollett’s translation of Gil Blas appeared nine months after the publication of Roderick Random. This chronicle of a merry, philosophical young man whose adventures lead him into all levels of society from the highest to the lowest, presents special problems for a translator. Smollett, without always adhering to the literal expression of the novel’s language, is true to its style, spirit, and ideas. After two and a half centuries, his remains the finest translation of this humorous, satiric, and classic French novel.
 
In his early years in London, Smollett struggled to find a way to distinguish himself through his medical practice, medical writings, poetry, and plays. None of these attempts, however, allowed him to demonstrate the full range of his personality and talents. Only when he combined his own boundless imagination with the skills he had learned from translating Gil Blas was he able to create energetic narratives filled with vivid and original characters.

 

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The Adventures of Peregrine Pickle

Tobias Smollett

This picaresque tale, first published in 1751, was Tobias Smollett’s second novel. Following the fortunes and misfortunes of the egotistical dandy Peregrine Pickle, the novel is written as a series of brief adventures with every chapter typically describing a new escapade. The novel begins with Peregrine as a young country gentleman. His mother rejects him, as do his aloof father and his dissolute, spiteful brother. Commodore Hawser Trunnion takes Peregrine under his care and raises him. Peregrine’s upbringing, education at Oxford, and journey to France, his debauchery, bankruptcy, jailing, and succession to his father’s fortune, and his final repentance and marriage to his beloved Emilia all provide scope for Smollett’s comic and caustic perspective on the Europe of his times. As John P. Zomchick and George S. Rousseau note in the introduction, “by contrasting the genteel and the common, the sophisticated and the primal, Smollett conveys forcefully the way it felt to be alive in the middle of the eighteenth century.”<br /> <br /> The introduction provides an overview of the composition and publication history of Peregrine Pickle and discusses the novel’s critical reception over time by such figures as Lady Luxborough, Sir Walter Scott, Joseph Conrad, and George Orwell. The text of the novel uses the first edition of 1751 as copy-text while recording the second edition’s substantive variants. Included are illustrations by Thomas Rowlandson, Richard Corbould, and George Cruikshank, as well as frontispieces designed by, and engraved in the style of, Henry Fuseli. A complete textual apparatus concludes the volume.

The Adventures of Roderick Random Cover

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The Adventures of Roderick Random

Tobias Smollett Jr.

This is the definitive scholarly edition of Tobias Smollett’s first novel, widely regarded as one of his two masterpieces, the other being The Expedition of Humphry Clinker. Roderick Random was also, in its time, the chief rival to Henry Fielding’s comic novel Tom Jones.

Surging with verbal, sexual, and martial energy, The Adventures of Roderick Random opens a window on life, love, and war in the eighteenth century. The hero battles his way from poverty and neglect to make his mark as a doctor, writer, fighter, and lover. His adventures take us across the world, from England and France to the Caribbean, Africa, and Latin America. One of the first truly global novels, it casts light on nearly every aspect of its time—imperialism, gender relations, slavery, urban life, colonial warfare, commerce, politics, the professions, high society, and the Hogarthian underworld.

Complete with illustrations and comprehensive annotations, this is the first edition to include Smollett’s long-forgotten antiwar pamphlet, An Account of the Expedition against Carthagene in the West Indies, which was drawn from his own war experience and on which key sections of the novel are based. The editors also provide a detailed biographical and historical introduction, based on the most recent scholarship, mapping the novel’s enormous impact in its own time and its influence on the history of litera­ture over the centuries since.

The Adventures of Telemachus, the Son of Ulysses Cover

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The Adventures of Telemachus, the Son of Ulysses

François de Salignac de La Mothe Fénelon

The Adventures of Telemachus is the first critical edition of Tobias Smollett's 1776 translation of Bishop Fénelon's 1699 "mirror for princes," written especially for Duc de Burgogne, heir presumptive to Louis XIV.

Both in its original French and its many translations, The Adventures of Telemachus was one of the most popular and revered works of the eighteenth century. There were more than ten English prose and poetry versions, including this masterful prose translation by Smollett. Known for his novels Roderick Random and The Expedition of Humphry Clinker, Smollett was also a gifted translator. The Adventures of Telemachus was his final translation and is one of the finest versions of the work. Long a disputed title in the Smollett canon, it is fully restored to his credit by Leslie A. Chilton.

Aesthetics from Classical Greece to the Present Cover

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Aesthetics from Classical Greece to the Present

“Beardsley’s book accomplishes to perfection what the writer intended.  It illuminates an area of history from a certain perspective as was never done before. . . . The distinguishing feature of his book is a n excitement over everything I aesthetics that has to do with symbols, meanings, language, and modes of interpretation.  And this excitement has brought to light facets of the history f the subject never noticed before, or at least, not so clearly.” —The Journal of Aesthetics and Art Criticism

After-Dinner Conversation Cover

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After-Dinner Conversation

The Diary of a Decadent

By José Asunción Silva

Lost in a shipwreck in 1895, rewritten before the author's suicide in 1896, and not published until 1925, José Asunción Silva's After-Dinner Conversation (De sobremesa) is one of Latin America's finest fin de siècle novels and the first one to be translated into English. Perhaps the single best work for understanding turn-of-the-twentieth-century writing in South America, After-Dinner Conversation is also cited as the continent's first psychological novel and an outstanding example of modernista fiction and the Decadent sensibility. Semi-autobiographical and more important for style than plot, After-Dinner Conversation is the diary of a Decadent sensation-collector in exile in Paris who undertakes a quest to find his beloved Helen, a vision whom his fevered imagination sees as his salvation. Along the way, he struggles with irreconcilable urges and temptations that pull him in every direction while he endures an environment indifferent or hostile to spiritual and intellectual pursuits, as did the modernista writers themselves. Kelly Washbourne's excellent translation preserves Silva's lush prose and experimental style. In the introduction, one of the most wide-ranging in Silva criticism, Washbourne places the life and work of Silva in their literary and historical contexts, including an extended discussion of how After-Dinner Conversation fits within Spanish American modernismo and the Decadent movement. Washbourne's perceptive comments and notes also make the novel accessible to general readers, who will find the work surprisingly fresh more than a century after its composition.

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