Louisa May Alcott

Dragan Nikolic

Grown-up Meg, tomboyish Jo, timid Beth, and precocious Amy. The four March sisters couldn't be more different. But with their father away at war, and their mother working to support the family, they have to rely on one another. Whether they're putting on a play, forming a secret society, or celebrating Christmas, there's one thing they can't help wondering: Will Father return home safely?

Puffin in Bloom

Little Women

Washington Irving

Jelena Milic

"The Legend of Sleepy Hollow" is a short story by American author Washington Irving, contained in his collection of 34 essays and short stories entitled The Sketch Book of Geoffrey Crayon, Gent. Written while Irving was living abroad in Birmingham, England, "The Legend of Sleepy Hollow" was first published in 1820. Along with Irving's companion piece "Rip Van Winkle", "The Legend of Sleepy Hollow" is among the earliest examples of American fiction with enduring popularity.

Unabridged Edition

The Legend of Sleepy Hollow

Gustave Flaubert

Eleanor Marx-Aveling

This exquisite novel tells the story of one of the most compelling heroines in modern literature--Emma Bovary. Unhappily married to a devoted, clumsy provincial doctor, Emma revolts against the ordinariness of her life by pursuing voluptuous dreams of ecstasy and love. But her sensuous and sentimental desires lead her only to suffering corruption and downfall. A brilliant psychological portrait, Madame Bovary searingly depicts the human mind in search of transcendence. Who is Madame Bovary? Flaubert's answer to this question was superb: "Madame Bovary, c'est moi." Acclaimed as a masterpiece upon its publication in 1857, the work catapulted Flaubert to the ranks of the world's greatest novelists. This volume, with its fine translation by Lowell Bair, a perceptive introduction by Leo Bersani, and a complete supplement of essays and critical comments, is the indispensable Madame Bovary.

Madame Bovary

Constance Garnett

Ivan Turgenev

Turgenev's novella, "First Love" is a compact, but intense, fiction whose realism blends with its literary allusions, dream-like qualities, and point of view to create a work of undeniable power. This is a novella which questions the boundaries between life and art, asking us all the while where love resides in self, family, and society."First Love" begins in a style reminiscent of Chaucer's "Canterbury Tales." Following a long dinner party, three men are in the middle of a calm conversation, when the unnamed host proposes that they all share the stories of their first loves. Two men's stories are quickly dismissed, leaving Vladimir Petrovich, a pensive middle aged man, who offers to give his story after having a chance to write it out. Vladimir's story concerns a summer when he was 16. Living in the country with a dissatisfied mother and an agonizingly Byronic father, Vladimir happens upon a dispossessed 21-year-old princess, Zinaida. From her shabby home, the beautiful and mysterious Zinaida commands a court of six men of varying ages and backgrounds - a poet, a doctor, a minor nobleman, a soldier, and Vladimir - each of whom is desperate to win her affection at any cost. For his own part, Vladimir attempts throughout the story to discover the roots of his own fascination with Zinaida.Part of the appeal of "First Love" is its point of view. It is a true first person narrative - we only ever know Vladimir's experience - the effect is a realistic account of the infatuation, love, doubt, and inner turmoil of a young man told through the hindsight of age and experience. Perhaps I've grown too accustomed to omniscient narration recently, but the desire that Turgenev evokes to know the minds of others, which of course in reality, we cannot, is both appealing and frustrating.Turgenev's literary background is broad and multicultural - he evinces knowledge of Russian, British, German, and French, Classic and Romantic traditions - all of which give us the sense that the tale being told is at once extremely personal and terribly universal. "First Love" is well-worth the investment of the short time it takes to read.

First Love

Søren Kierkegaard

Anti Climacus

Anti-Climacus introduces the book with a reference to Gospel of John 11.4: "This sickness is not unto death." This quotation comes from the story of Lazarus, in which Jesus raises a man from the dead. However, Anti-Climacus raises the question: would not this statement still be true even if Jesus had not raised Lazarus from the dead? While the human conception of death is the end, the Christian conception of death is merely another stop along the way of the eternal life. In this way, for the Christian, death is nothing to fear. The true "Sickness unto Death," which does not describe physical but spiritual death, is something to fear according to Anti-Climacus. This sickness unto death is what Kierkegaard calls despair. According to Kierkegaard, an individual is "in despair" if he does not align himself with God or God's plan for the self. In this way he loses his self, which Kierkegaard defines as the "relation's relating itself to itself in the relation." Kierkegaard defines humanity as the tension between the "finite and infinite," and the "possible and the necessary," and is identifiable with the dialectical balancing act between these opposing features, the relation. While humans are inherently reflective and self-conscious beings, to become a true self one must not only be conscious of the self but also be conscious of being aligned with a higher purpose, viz God's plan for the Self. When one either denies this Self or the power that creates and sustains this Self, one is in despair. There are three kinds of despair presented in the book: being unconscious in despair of having a self, not wanting in despair to be oneself, and wanting in despair to be oneself. The first of these is described as "inauthentic despair," because this despair is born out of ignorance. In this state one is unaware that one has a self separate from its finite reality. One does not realize that there is a God, and accepts finitude because one is unaware of possibility of being more inherent in selfhood. The second type of despair is refusing to accept the self outside of immediacy; only defining the self by immediate, finite terms. This is the state in which one realizes that one has a self, but wishes to lose this painful awareness by arranging one's finite life so as to make the realization unnecessary. This stage is loosely comparable to Sartre's bad faith. The third type is awareness of the Self but refusal to submit to the will of God. In this stage, one accepts the eternal and may or may not acknowledge the creator, but refuses to accept an aspect of the Self that one in reality is, that is to say, the Self that one has been created to be. To not be in despair is to have reconciled the finite with the infinite, to exist in awareness of one's own self and of God. Specifically, Kierkegaard defines the opposite of despair as faith, which he describes by the following: "In relating itself to itself, and in willing to be itself, the self rests transparently in the power that established it."

Sygdommen Til Doden

The Sickness Unto Death

Ninian Hill Thomson

Niccol Machiavelli

Niccolò di Bernardo dei Machiavelli (3 May 1469 – 21 June 1527) was an Italian historian, politician, diplomat, philosopher, humanist, and writer based in Florence during the Renaissance. He was for many years an official in the Florentine Republic, with responsibilities in diplomatic and military affairs. He was a founder of modern political science, and more specifically political ethics. He also wrote comedies, carnival songs, and poetry. His personal correspondence is renowned in the Italian language. He was Secretary to the Second Chancery of the Republic of Florence from 1498 to 1512, when the Medici were out of power. He wrote his masterpiece, The Prince, after the Medici had recovered power and he no longer held a position of responsibility in Florence."Machiavellianism" is a widely used negative term to characterize unscrupulous politicians of the sort Machiavelli described in The Prince. The book itself gained enormous notoriety and wide readership because the author seemed to be endorsing behavior often deemed as evil and immoral.

Illustrated Edition

The Prince - Il Principe

Ragnar Redbeard

This is unabridged, original text of this infamous book. Might Is Right, or The Survival of the Fittest, is a book by pseudonymous author Ragnar Redbeard. First published in 1890, it heavily advocates social Darwinism, amoralism, and psychological hedonism. In Might is Right, Redbeard rejects conventional ideas of human and natural rights and argues that only strength or physical might can establish moral right (la Callicles). Libertarian historian James J. Martin called it "surely one of the most incendiary works ever to be published anywhere." Leo Tolstoy discussed the philosophy of Might Is Right in his 1897 essay What Is Art?: "The substance of this book, as it is expressed in the editor's preface, is that to measure "right" by the false philosophy of the Hebrew prophets and "weepful" Messiahs is madness. Right is not the offspring of doctrine, but of power. All laws, commandments, or doctrines as to not doing to another what you do not wish done to you, have no inherent authority whatever, but receive it only from the club, the gallows, and the sword. A man truly free is under no obligation to obey any injunction, human or divine. Obedience is the sign of the degenerate. Disobedience is the stamp of the hero. Men should not be bound by moral rules invented by their foes. The whole world is a slippery battlefield. Ideal justice demands that the vanquished should be exploited, emasculated, and scorned. The free and brave may seize the world. And, therefore, there should be eternal war for life, for land, for love, for women, for power, and for gold. The earth and its treasures is "booty for the bold." The author has evidently by himself, independently of Nietzsche, come to the same conclusions which are professed by the new artists."

Dragan Nikolic

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