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With her satire on Anglo-Irish landlords in Castle Rackrent (1800), Maria Edgeworth pioneered the regional novel and inspired Sir Walter Scott's Waverley (1814). Politically risky, stylistically innovative, and wonderfully entertaining, the novel changes the focus of conflict in Ireland from religion to class, and boldly predicts the rise of the Irish Catholic bourgeoisie. The second edition now includes new notes informed by the latest scholarship.

Edna Ferber was an early 20th century American author and playwright. Ferber worked for several newspapers. She covered the 1920 Republican and Democratic national conventions for the United Press Association. Her novels often featured a strong female protagonist and often had a secondary character who faced some form of discrimination. In 1925 her novel So Big won a Pulitzer Prize. Dawn O'Hara, the Girl Who Laughed was Edna Ferber's first novel. Dawn was a newspaperwoman working in New York. When she gets ill she must return to Michigan. Dawn had spent years caring for her mentally ill husband. She had lived in boarding houses and all of this had exhausted her. She was only 28, but often felt like an old woman. The care of her sister Norah and her family along with the attentions of the handsome German doctor, Ernst Von Gerhard, slowly bring Dawn back to life.

More than thirty years ago two atoms of the eternal Energy sped forth from the heart of it which we call God, and incarnated themselves in the human shapes that were destined to hold them for a while, as vases hold perfumes, or goblets wine, or as sparks of everlasting radium inhabit the bowels of the rock. Perhaps these two atoms, or essences, or monads indestructible, did but repeat an adventure, or many, many adventures. Perhaps again and again they had proceeded from that Home august and imperishable on certain mornings of the days of Time, to return thither at noon or nightfall, laden with the fruits of gained experience. So at least one of them seemed to tell the other before all was done and that other came to believe. If so, over what fields did they roam throughout the aeons, they who having no end, could have no beginning? Not those of this world only, we may be sure. It is so small and there are so many others, millions upon millions of them, and such an infinite variety of knowledge is needed to shape the soul of man, even though it remain as yet imperfect and but a shadow of what it shall be.

I had been living at Tunbridge Wells and nowhere else, going on for ten years, when my medical man — very clever in his profession, and the prettiest player I ever saw in my life of a hand at Long Whist, which was a noble and a princely game before Short was heard of — said to me, one day, as he sat feeling my pulse on the actual sofa which my poor dear sister Jane worked before her spine came on, and laid her on a board for fifteen months at a stretch — the most upright woman that ever lived — said to me, “What we want, ma’am, is a fillip.”

 It was the night before the day fixed for his coronation, and the young King was sitting alone in his beautiful chamber.  His courtiers had all taken their leave of him, bowing their heads to the ground, according to the ceremonious usage of the day, and had retired to the Great Hall of the Palace, to receive a few last lessons from the Professor of Etiquette; there being some of them who had still quite natural manners, which in a courtier is, I need hardly say, a very grave offence.

"I WANT something to do."This remark being addressed to the world in general, no one in particular feltit their duty to reply; so I repeated it to the smaller world about me, receivedthe following suggestions, and settled the matter by answering my own inquiry,as people are apt to do when very much in earnest.

《共产党宣言》又译《共产主义宣言》是马克思和恩格斯为共产主义者同盟起草的纲领。马克思把家庭关系置于资本主义的关系中加以考察，指出资本主义把家庭关系变成金钱关系，在这种关系中，妇女处于单纯生产工具的地位。因此，妇女解放，其妇女自身的解放而言，是使妇女不再处于单纯生产工具的地位，与男人享受平等的社会权利，成为全面而自由发展的人。要做到这一点，须消灭私有制。《宣言》还指出无产阶级在夺取政权后，必须在大力发展生产力的基础上，逐步进行社会改造，进而达到消灭阶级对立和阶级本身的存在条件。当生产资料私有制和阶级消灭以后，国家消亡。到那个时候，代替存在着阶级和阶级对立的资产阶级社会的，是这样一个联合体，在那里，每个人的自由发展是一切人的自由发展的条件，即进入共产主义社会。

1:1 [hgb]  当 三 十 年 四 月 初 五 日 ， 以 西 结 （ 原 文 作 我 ） 在 迦 巴 鲁 河 边 被 掳 的 人 中 ， 天 就 开 了 ， 得 见 神 的 异 象 。    [kjv]  Now it came to pass in the thirtieth year, in the fourth month, in the fifth day of the month, as I was among the captives by the river of Chebar, that the heavens were opened, and I saw visions of God.    [bbe]  Now it came about in the thirtieth year, in the fourth month, on the fifth day of the month, while I was by the river Chebar among those who had been made prisoners, that the heavens were made open and I saw visions of God.1:2 [hgb]  正 是 约 雅 斤 王 被 掳 去 第 五 年 四 月 初 五 日 ，    [kjv]  In the fifth day of the month, which was the fifth year of king Jehoiachin's captivity,    [bbe]  On the fifth day of the month, in the fifth year after King Jehoiachin had been made a prisoner

Officer, diplomat, spy, journalist, and intermittent genius, Marie Henri Beyle employed more than 200 aliases in the course of his crowded career. His most famous moniker, however, was Stendhal, which he affixed to his greatest work, The Charterhouse of Parma. The author spent a mere seven weeks cranking out this marvel in 1838, setting the fictional equivalent of a land-speed record. To be honest, there are occasional signs of haste, during which he clearly bypassed le mot juste in favor of narrative zing. So what? Stendhal at his sloppiest is still wittier, and wiser about human behavior, than just about any writer you could name. No wonder so meticulous a stylist as Paul Valéry was happy to forgive his sins against French grammar: "We should never be finished with Stendhal. I can think of no greater praise than that." The plot of The Charterhouse of Parma suggests a run-of-the-mill potboiler, complete with court intrigue, military derring-do, and more romance than you can shake a saber at. But Stendhal had an amazing, pre-Freudian grasp of psychology (at least the Gallic variant). More than most of his contemporaries, he understood the incessant jostling of love, sex, fear, and ambition, not to mention our endless capacity for self-deception. No wonder his hero, Fabrizio de Dongo, seems to know everything and nothing about himself. Even under fire at the Battle of Waterloo, the young Fabrizio has a tendency to lose himself in Napoleonic reverie: Suddenly everyone galloped off. A few moments later Fabrizio saw, twenty paces ahead, a ploughed field that seemed to be strangely in motion; the furrows were filled with water, and the wet ground that formed their crests was exploding into tiny black fragments flung three or four feet into the air. Fabrizio noticed this odd effect as he passed; then his mind returned to daydreams of the Marshal's glory. He heard a sharp cry beside him: two hussars had fallen, riddled by bullets; and when he turned to look at them, they were already twenty paces behind the escort. The quote above, a famous one, captures something of Stendhal's headlong style. Until now, most English-speaking readers have experienced it via C.K. Scott-Moncrieff's superb 1925 translation. But now Richard Howard has modernized his predecessor's period touches, streamlined some of the fussier locutions, and generally given Stendhal his high-velocity due. The result is a timely version of a timeless masterpiece, which shouldn't need to be updated again until, oh, 2050. Crammed with life, lust, and verbal fireworks, The Charterhouse of Parma demonstrates the real truth of its creator's self-composed epitaph: "He lived. He wrote. He loved."