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Les Miserables

Introduction by Peter Washington

Part of Everyman's Library Classics Series

Author Victor Hugo
Introduction by Peter Washington
Translated by Charles E. Wilbour
Hardcover
$42.00 US
Knopf | Everyman's Library
5.51"W x 8.33"H x 1.99"D  
On sale Mar 31, 1998 | 1480 Pages | 978-0-375-40317-0
| Grades 9-12 + AP/IB
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  • English Language Arts > Genre: Fiction > Historical Fiction: Events & Periods > Military & Wars
  • English Language Arts > Genre: Fiction > Historical Fiction: World > Europe
  • English Language Arts > Genre: Fiction > People & Places by Region > Europe
  • English Language Arts > Literature: Comparative & World > Pre-20th Century
  • About
  • Author
  • Excerpt
  • Praise

It has been said that Victor Hugo has a street named after him in virtually every town in France. A major reason for the singular celebrity of this most popular and versatile of the great French writers is Les Misérables (1862). In this story of the trials of the peasant Jean Valjean—a man unjustly imprisoned, baffled by destiny, and hounded by his nemesis, the magnificently realized, ambiguously malevolent police detective Javert—Hugo achieves the sort of rare imaginative resonance that allows a work of art to transcend its genre.

Les Misérables
is at once a tense thriller that contains one of the most compelling chase scenes in all literature, an epic portrayal of the nineteenth-century French citizenry, and a vital drama—highly particularized and poetic in its rendition but universal in its implications—of the redemption of one human being.

Victor Hugo (1802–1885), novelist, poet, playwright, and French national icon, is best known for two of today’s most popular world classics: Les Misérables and The Hunchback of Notre-Dame, as well as other works, including The Toilers of the Sea and The Man Who Laughs. Hugo was elected to the Académie Française in 1841. As a statesman, he was named a Peer of France in 1845. He served in France’s National Assemblies in the Second Republic formed after the 1848 revolution, and in 1851 went into self-imposed exile upon the ascendance of Napoleon III, who restored France’s government to authoritarian rule. Hugo returned to France in 1870, after the proclamation of the Third Republic. View titles by Victor Hugo
From the Introduction by Peter Washington- Victor Hugo might be regarded as the Mr Toad of French literature: vain, arrogrant, pompous, selfish, cold and stingy; a windbag, a humbug and a fraud, absurdly puffed up with the immensity of his own greatness. But unlike Mr Toad, he was also an astute and energetic promoter of hisown image as a Great Man. The process began early. Writing in Hugo's lifetime, Virginie Ancelot recalls the reception the young poet received in literary drawing-rooms when he arrived to read his latest ode. "...There was a few moments' silence; then someone rose and approached him with visible emotion, took his hand and raised their eyes to heaven.The multitude listened. A single word was heard, to the great surprise of the uninitiated. And this word, which echoed in every corner of the salon, was:'Cathedral!'Then the orator returned to his place; another rose and cried out: 'Ogive!'A third looked round him and ventured:'Egyptian Pyramid!'The assembly applauded, and then it was lost in profound reflection." To the Anglo-Saxon mind - and, it should be said, to many Frenchmen - this is Parisian literary life at its worst: the posturing, the pretension, the self-regard, masquerading under the name of art. Yet Hugo is the man who wrote a handful of the most exquisite lyrics - 'Victor Hugo, helas!'said Gide when someone asked him to name the finest French poet - and at least one novel judged to be supreme. In his person, he sums up all that is most monsterous in writerly vanity; in his best work he transcended his failings. How did he do it? How did a monster come to write the masterpiece that is Les Miserables? * In an early essay on Scott, Hugo prophesies that"After the picturesque but prosaic novel of Walter Scott, there will still be another novel to create ... It is the novel which is at once drama and epic, picturesque and poetic, real and ieal, true and great, the novel which will enshrine Walter Scott in Homer."These words were written in 1823, just after the publication of his own first novel, Han d'Islande, and there is no doubt that Hugo had himself in mind as the man who could 'enshrine Walter Scott as Homer'. Anyone who can still get through this book may take a rather different view. Set in seventeeth-century Norway and dripping with gore on every page, Han d'Islande is nearer to the Gothic horror tradition than to Scott. For the man who really succeeded in reconciling the genres of epic and historic fiction we have to look further afield, to Hugo's own admirerer, Tolstoy. Yet it was Tolstoy who vindicated the French novelist's early ambition by judging Les Miserables one of the world's great novels, if not the greates, and acknowledged its effect on his own work. Les Miserables was completed in 1862, shortly before the Russian novelist began War and Peace. The two novels are set in the same period. It cannot be said that Hugo had much to teach his junior about structure or characterization; like all his attempts at epic, in prose and verse, Les Miserables rambles, there are huge digressions and absurdities of plot, the characters are often thin, the action melodramatic. But in spacious, vigorous story-telling, in the use of an historical framework, in the relating of human events to a larger philosophical and spiritual context, in the deployment of fiction as a social and political weapon, in the exalatation of 'the people' as a supreme authority, in the treatment of suffering as a dominant theme - in all these matters, Hugo exerted a profound influence on Tolstoy. Without his example, War and Peace might have been a very different novel. Perhaps the most extraordinary point of contact between them concerns Napoleon. One might expect the emperor to intrigue European writers in the early nineteenth century, as he intrigues Byron, Balzac and Stendhal, among others, but by the 1860s almost half a century had passed since Waterloo, yet Hugo and Tolstoy are still trying to unravel the mystery of one whose shadow falls across the entire century. For Tolstoy, Napoleon is pre-eminently a human being - an extraordinary man, certainly, the instrument of destiny, but still a man. For Hugo he is more like a superman, a mysterious brooding presence with almost divine powers. The point is made by an ironic comparison between Napoleon and Wellington. Hugo's argument seems to be that Napoleon ought to have won Waterloo by sheer force of genius - indeed, that he did win it, when judged according to the rules of natural justice - but that Wellington achieved a victory on points by taking more care to spy out the lay of the battlefield and to estimate the balance of forces. Calculation is everything to the mundane Englishman, imagination nothing. When lightning flashes round the emperor's head, the duke looks like a very ordinary man. While Napoleon surveys the heavens, Wellington consults his watch. Clearly, the image of general as genius was vital to Hugo's own project of himself as a literary Napoleon, but there is more to it than that. Commentators have often lamented the digression on Waterloo which is quite unnecessary to the plot and, coming early in the book, throws it decisively out of its narrative stride. But Hugo, though careless of structural refinement, does have a more serious purpose here - a purpose from which Tolstoy must have learnt much, and not only in his description of Borodino. For Hugo, who in turn learnt so much from Scott, grasped the fact that by imprinting the significance of a decisive historical moment on the minds of his readers he could hugely enlarge the scope of his novel. Precisely because Les Miserables is about little people, the history of a great man is one means of linking their petty lives with the Infinite. (The link is made touchingly explicit in the chapter called 'In Which Little Gavroche Takes Advantage of Napoleon the Great'.) Even events as great as Waterloo, we are told, can hinge on details: the location of a ditch, the arrival of a platoon. Conversely, the most trivial life may exemplify a great truth - and in that sense, all lives are equally significant, for every existence embodies these truths. At the same time, Hugo's treatment of Waterloo makes it clear that realities and appearances diverge as much in everyday life as they do in historical interpretation - and that the two divergences are linked. What a post-Waterloo Frenchman thinks of Napoleon helps to shape what he thinks of himself. Sometimes we try to envision history in our own image; sometimes we use it to understand ourselves; at all times we are formed by it without our knowledge. One function of fiction is to help us achieve that knowledge. Les Miserables is, among other things, an attempt to explain the people of the mid-nineteenth century to themselves. Jean Valjean finds himself in a certain situation because he is a poor Frenchman at a particular time. This is one version of Fate - the sociological and political explanation of things. But Valjean is like Waterloo: his life also has a deeper purpose, a hidden meaning. Hugo has a number of names for this meaning - Fate, Destiny, God, the Infinite. But whatever he calls it, we observe a complex dialogue throughout the book between the surface causes of Valjean's predicament - poverty and ignorance - and their deeper meaning, to which he penetrates through suffering.
Copyright © 1997 by Everyman’s Library. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

"Hugo's genius was for the creation of simple and recognizable myth. The huge success of Les Misérables as a didactic work on behalf of the poor and oppressed is due to his poetic and myth-enlarged view of human nature." —V. S. Pritchett

 

"It was Tolstoy who vindicated [Hugo's] early ambition by judging Les Misérables one of the world's great novels, if not the greatest… [His] ability to present the extremes of experience 'as they are' is, in the end, Hugo's great gift." —From the Introduction by Peter Washington

About

It has been said that Victor Hugo has a street named after him in virtually every town in France. A major reason for the singular celebrity of this most popular and versatile of the great French writers is Les Misérables (1862). In this story of the trials of the peasant Jean Valjean—a man unjustly imprisoned, baffled by destiny, and hounded by his nemesis, the magnificently realized, ambiguously malevolent police detective Javert—Hugo achieves the sort of rare imaginative resonance that allows a work of art to transcend its genre.

Les Misérables
is at once a tense thriller that contains one of the most compelling chase scenes in all literature, an epic portrayal of the nineteenth-century French citizenry, and a vital drama—highly particularized and poetic in its rendition but universal in its implications—of the redemption of one human being.

Author

Victor Hugo (1802–1885), novelist, poet, playwright, and French national icon, is best known for two of today’s most popular world classics: Les Misérables and The Hunchback of Notre-Dame, as well as other works, including The Toilers of the Sea and The Man Who Laughs. Hugo was elected to the Académie Française in 1841. As a statesman, he was named a Peer of France in 1845. He served in France’s National Assemblies in the Second Republic formed after the 1848 revolution, and in 1851 went into self-imposed exile upon the ascendance of Napoleon III, who restored France’s government to authoritarian rule. Hugo returned to France in 1870, after the proclamation of the Third Republic. View titles by Victor Hugo

Excerpt

From the Introduction by Peter Washington- Victor Hugo might be regarded as the Mr Toad of French literature: vain, arrogrant, pompous, selfish, cold and stingy; a windbag, a humbug and a fraud, absurdly puffed up with the immensity of his own greatness. But unlike Mr Toad, he was also an astute and energetic promoter of hisown image as a Great Man. The process began early. Writing in Hugo's lifetime, Virginie Ancelot recalls the reception the young poet received in literary drawing-rooms when he arrived to read his latest ode. "...There was a few moments' silence; then someone rose and approached him with visible emotion, took his hand and raised their eyes to heaven.The multitude listened. A single word was heard, to the great surprise of the uninitiated. And this word, which echoed in every corner of the salon, was:'Cathedral!'Then the orator returned to his place; another rose and cried out: 'Ogive!'A third looked round him and ventured:'Egyptian Pyramid!'The assembly applauded, and then it was lost in profound reflection." To the Anglo-Saxon mind - and, it should be said, to many Frenchmen - this is Parisian literary life at its worst: the posturing, the pretension, the self-regard, masquerading under the name of art. Yet Hugo is the man who wrote a handful of the most exquisite lyrics - 'Victor Hugo, helas!'said Gide when someone asked him to name the finest French poet - and at least one novel judged to be supreme. In his person, he sums up all that is most monsterous in writerly vanity; in his best work he transcended his failings. How did he do it? How did a monster come to write the masterpiece that is Les Miserables? * In an early essay on Scott, Hugo prophesies that"After the picturesque but prosaic novel of Walter Scott, there will still be another novel to create ... It is the novel which is at once drama and epic, picturesque and poetic, real and ieal, true and great, the novel which will enshrine Walter Scott in Homer."These words were written in 1823, just after the publication of his own first novel, Han d'Islande, and there is no doubt that Hugo had himself in mind as the man who could 'enshrine Walter Scott as Homer'. Anyone who can still get through this book may take a rather different view. Set in seventeeth-century Norway and dripping with gore on every page, Han d'Islande is nearer to the Gothic horror tradition than to Scott. For the man who really succeeded in reconciling the genres of epic and historic fiction we have to look further afield, to Hugo's own admirerer, Tolstoy. Yet it was Tolstoy who vindicated the French novelist's early ambition by judging Les Miserables one of the world's great novels, if not the greates, and acknowledged its effect on his own work. Les Miserables was completed in 1862, shortly before the Russian novelist began War and Peace. The two novels are set in the same period. It cannot be said that Hugo had much to teach his junior about structure or characterization; like all his attempts at epic, in prose and verse, Les Miserables rambles, there are huge digressions and absurdities of plot, the characters are often thin, the action melodramatic. But in spacious, vigorous story-telling, in the use of an historical framework, in the relating of human events to a larger philosophical and spiritual context, in the deployment of fiction as a social and political weapon, in the exalatation of 'the people' as a supreme authority, in the treatment of suffering as a dominant theme - in all these matters, Hugo exerted a profound influence on Tolstoy. Without his example, War and Peace might have been a very different novel. Perhaps the most extraordinary point of contact between them concerns Napoleon. One might expect the emperor to intrigue European writers in the early nineteenth century, as he intrigues Byron, Balzac and Stendhal, among others, but by the 1860s almost half a century had passed since Waterloo, yet Hugo and Tolstoy are still trying to unravel the mystery of one whose shadow falls across the entire century. For Tolstoy, Napoleon is pre-eminently a human being - an extraordinary man, certainly, the instrument of destiny, but still a man. For Hugo he is more like a superman, a mysterious brooding presence with almost divine powers. The point is made by an ironic comparison between Napoleon and Wellington. Hugo's argument seems to be that Napoleon ought to have won Waterloo by sheer force of genius - indeed, that he did win it, when judged according to the rules of natural justice - but that Wellington achieved a victory on points by taking more care to spy out the lay of the battlefield and to estimate the balance of forces. Calculation is everything to the mundane Englishman, imagination nothing. When lightning flashes round the emperor's head, the duke looks like a very ordinary man. While Napoleon surveys the heavens, Wellington consults his watch. Clearly, the image of general as genius was vital to Hugo's own project of himself as a literary Napoleon, but there is more to it than that. Commentators have often lamented the digression on Waterloo which is quite unnecessary to the plot and, coming early in the book, throws it decisively out of its narrative stride. But Hugo, though careless of structural refinement, does have a more serious purpose here - a purpose from which Tolstoy must have learnt much, and not only in his description of Borodino. For Hugo, who in turn learnt so much from Scott, grasped the fact that by imprinting the significance of a decisive historical moment on the minds of his readers he could hugely enlarge the scope of his novel. Precisely because Les Miserables is about little people, the history of a great man is one means of linking their petty lives with the Infinite. (The link is made touchingly explicit in the chapter called 'In Which Little Gavroche Takes Advantage of Napoleon the Great'.) Even events as great as Waterloo, we are told, can hinge on details: the location of a ditch, the arrival of a platoon. Conversely, the most trivial life may exemplify a great truth - and in that sense, all lives are equally significant, for every existence embodies these truths. At the same time, Hugo's treatment of Waterloo makes it clear that realities and appearances diverge as much in everyday life as they do in historical interpretation - and that the two divergences are linked. What a post-Waterloo Frenchman thinks of Napoleon helps to shape what he thinks of himself. Sometimes we try to envision history in our own image; sometimes we use it to understand ourselves; at all times we are formed by it without our knowledge. One function of fiction is to help us achieve that knowledge. Les Miserables is, among other things, an attempt to explain the people of the mid-nineteenth century to themselves. Jean Valjean finds himself in a certain situation because he is a poor Frenchman at a particular time. This is one version of Fate - the sociological and political explanation of things. But Valjean is like Waterloo: his life also has a deeper purpose, a hidden meaning. Hugo has a number of names for this meaning - Fate, Destiny, God, the Infinite. But whatever he calls it, we observe a complex dialogue throughout the book between the surface causes of Valjean's predicament - poverty and ignorance - and their deeper meaning, to which he penetrates through suffering.
Copyright © 1997 by Everyman’s Library. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Praise

"Hugo's genius was for the creation of simple and recognizable myth. The huge success of Les Misérables as a didactic work on behalf of the poor and oppressed is due to his poetic and myth-enlarged view of human nature." —V. S. Pritchett

 

"It was Tolstoy who vindicated [Hugo's] early ambition by judging Les Misérables one of the world's great novels, if not the greatest… [His] ability to present the extremes of experience 'as they are' is, in the end, Hugo's great gift." —From the Introduction by Peter Washington

Additional formats

  • Les Misérables
    Les Misérables
    A Novel
    Victor Hugo
    $15.00 US
    Paperback
    Sep 29, 1996
  • Les Misérables
    Les Misérables
    A Novel
    Victor Hugo
    $6.99 US
    Mass Market Paperback
    Dec 12, 1982
  • Les Misérables
    Les Misérables
    A Novel
    Victor Hugo
    $15.00 US
    Paperback
    Sep 29, 1996
  • Les Misérables
    Les Misérables
    A Novel
    Victor Hugo
    $6.99 US
    Mass Market Paperback
    Dec 12, 1982

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  • Histories, vol. 2
    Histories, vol. 2
    Volume 2; Introduction by Tony Tanner
    William Shakespeare
    $28.00 US
    Hardcover
    Nov 01, 1994
  • The Theban Plays
    The Theban Plays
    Introduction by Charles Segal
    Sophocles
    $22.00 US
    Hardcover
    Oct 18, 1994
  • Histories, vol. 1
    Histories, vol. 1
    Volume 1; Introduction by Tony Tanner
    William Shakespeare
    $28.00 US
    Hardcover
    Oct 04, 1994
  • Fear and Trembling and The Book on Adler
    Fear and Trembling and The Book on Adler
    Introduction by George Steiner
    Soren Kierkegaard
    $25.00 US
    Hardcover
    May 10, 1994
  • Democracy in America
    Democracy in America
    Introduction by Alan Ryan
    Alexis de Tocqueville
    $35.00 US
    Hardcover
    May 10, 1994
  • The Souls of Black Folk
    The Souls of Black Folk
    Introduction by Arnold Rampersad
    W. E. B. Du Bois
    $22.00 US
    Hardcover
    Oct 26, 1993
  • A Tale of Two Cities
    A Tale of Two Cities
    Introduction by Simon Schama
    Charles Dickens
    $30.00 US
    Hardcover
    Feb 23, 1993
  • The Sonnets and Narrative Poems of William Shakespeare
    The Sonnets and Narrative Poems of William Shakespeare
    Introduction by Helen Vendler
    William Shakespeare
    $21.00 US
    Hardcover
    Dec 15, 1992
  • The Awakening
    The Awakening
    Introduction by Elaine Showalter
    Kate Chopin
    $21.00 US
    Hardcover
    Nov 03, 1992
  • Canterbury Tales
    Canterbury Tales
    Introduction by Derek Pearsall
    Geoffrey Chaucer
    $28.00 US
    Hardcover
    Jun 30, 1992
  • The Aeneid
    The Aeneid
    Introduction by Philip Hardie
    Virgil
    $28.00 US
    Hardcover
    Jun 30, 1992
  • Dr. Jekyll and Mr. Hyde
    Dr. Jekyll and Mr. Hyde
    Introduction by Nicholas Rance
    Robert Louis Stevenson
    $20.00 US
    Hardcover
    Apr 28, 1992
  • Utopia
    Utopia
    Introduction by Jenny Mezciems
    Thomas More
    $20.00 US
    Hardcover
    Apr 28, 1992
  • The House of Mirth
    The House of Mirth
    Introduction by Pamela Knights
    Edith Wharton
    $26.00 US
    Hardcover
    Nov 26, 1991
  • Pride and Prejudice
    Pride and Prejudice
    Introduction by Peter Conrad
    Jane Austen
    $26.00 US
    Hardcover
    Oct 15, 1991
  • The Wealth of Nations
    The Wealth of Nations
    Introduction by D. D. Raphael and John Bayley
    Adam Smith
    $28.00 US
    Hardcover
    Oct 15, 1991
  • Bleak House
    Bleak House
    Introduction by Barbara Hardy
    Charles Dickens
    $32.00 US
    Hardcover
    Oct 15, 1991
  • Wuthering Heights
    Wuthering Heights
    Emily Bronte
    $8.00 US
    Paperback
    Dec 07, 2021
  • Selected Stories of Guy de Maupassant
    Selected Stories of Guy de Maupassant
    Introduction by Catriona Seth
    Guy de Maupassant
    $22.00 US
    Hardcover
    Oct 05, 2021
  • The Babur Nama
    The Babur Nama
    Introduction by William Dalrymple
    Babur
    $30.00 US
    Hardcover
    Nov 03, 2020
  • Independent People
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    Introduction by John Freeman
    Halldor Laxness
    $26.00 US
    Hardcover
    Oct 06, 2020
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    Thomas Hardy
    $11.00 US
    Paperback
    Nov 08, 2016
  • Reflections on the Revolution in France and Other Writings
    Reflections on the Revolution in France and Other Writings
    Edited and Introduced by Jesse Norman
    Edmund Burke
    $32.00 US
    Hardcover
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  • The Autobiography and Other Writings
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    Introduction by Jill Lepore
    Benjamin Franklin
    $28.00 US
    Hardcover
    Sep 08, 2015
  • Walden & Civil Disobedience
    Walden & Civil Disobedience
    Henry David Thoreau
    $11.00 US
    Paperback
    Aug 26, 2014
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    A Romance
    Nathaniel Hawthorne
    $8.00 US
    Paperback
    Aug 26, 2014
  • Journey to the Center of the Earth, Twenty Thousand Leagues Under the Sea, Round the World in Eighty Days
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    Introduction by Tim Farrant
    Jules Verne
    $35.00 US
    Hardcover
    Oct 01, 2013
  • The Age of Innocence
    The Age of Innocence
    Edith Wharton
    $11.00 US
    Paperback
    Jun 05, 2012
  • The Custom of the Country
    The Custom of the Country
    Edith Wharton
    $12.00 US
    Paperback
    Jun 05, 2012
  • The Hunchback of Notre-Dame
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    Introduction by Jean-Marc Hovasse
    Victor Hugo
    $26.00 US
    Hardcover
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  • The Time Machine, The Invisible Man, The War of the Worlds
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    Introduction by Margaret Drabble
    H. G. Wells
    $28.00 US
    Hardcover
    Aug 03, 2010
  • Annals and Histories
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    Introduction by Robin Lane Fox
    Tacitus
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    Hardcover
    Oct 06, 2009
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    Charles Dickens
    $12.00 US
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    Oct 06, 2009
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    Introduction by Umberto Eco
    Alexandre Dumas
    $30.00 US
    Hardcover
    Jun 02, 2009
  • Jane Eyre
    Jane Eyre
    Charlotte Bronte
    $9.00 US
    Paperback
    Apr 07, 2009
  • Villette
    Villette
    Charlotte Bronte
    $17.00 US
    Paperback
    Apr 07, 2009
  • The Travels of Marco Polo
    The Travels of Marco Polo
    Introduction by Colin Thubron
    Marco Polo
    $32.00 US
    Hardcover
    Oct 21, 2008
  • The Prince
    The Prince
    Niccolo Machiavelli
    $14.00 US
    Paperback
    Feb 05, 2008
  • Emma
    Emma
    Jane Austen
    $10.00 US
    Paperback
    Sep 04, 2007
  • Persuasion
    Persuasion
    Jane Austen
    $7.00 US
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    Sep 04, 2007
  • Notes from Underground
    Notes from Underground
    Introduction by Richard Pevear
    Fyodor Dostoevsky
    $26.00 US
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    Mar 23, 2004
  • Kim
    Kim
    Rudyard Kipling
    $8.00 US
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    Feb 10, 2004
  • The Origin of Species and The Voyage of the 'Beagle'
    The Origin of Species and The Voyage of the 'Beagle'
    Introduction by Richard Dawkins
    Charles Darwin
    $35.00 US
    Hardcover
    Oct 14, 2003
  • Our Mutual Friend
    Our Mutual Friend
    Charles Dickens
    $13.00 US
    Paperback
    Sep 10, 2002
  • Daniel Deronda
    Daniel Deronda
    George Eliot
    $11.00 US
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    Jul 09, 2002
  • Moll Flanders
    Moll Flanders
    Daniel Defoe
    $14.00 US
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    Jun 11, 2002
  • The Memoirs of Hector Berlioz
    The Memoirs of Hector Berlioz
    Introduced by David Cairns
    Hector Berlioz
    $35.00 US
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    Mar 19, 2002
  • Little Dorrit
    Little Dorrit
    Charles Dickens, H. K. Browne
    $13.00 US
    Paperback
    Mar 12, 2002
  • Far from the Madding Crowd
    Far from the Madding Crowd
    Thomas Hardy
    $11.00 US
    Paperback
    Dec 11, 2001
  • Oliver Twist
    Oliver Twist
    Charles Dickens, George Cruikshank
    $8.00 US
    Paperback
    Oct 09, 2001
  • Jude the Obscure
    Jude the Obscure
    Thomas Hardy
    $12.00 US
    Paperback
    Aug 14, 2001
  • Hard Times
    Hard Times
    Charles Dickens
    $10.00 US
    Paperback
    Jul 10, 2001
  • Silas Marner
    Silas Marner
    The Weaver of Raveloe
    George Eliot
    $9.00 US
    Paperback
    May 08, 2001
  • The Analects
    The Analects
    Introduction by Sarah Allan
    Confucius
    $22.00 US
    Hardcover
    May 01, 2001
  • Symposium and Phaedrus
    Symposium and Phaedrus
    Introduction by Richard Rutherford
    Plato
    $21.00 US
    Hardcover
    Mar 06, 2001
  • Tess of the d'Urbervilles
    Tess of the d'Urbervilles
    A Pure Woman
    Thomas Hardy
    $10.00 US
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    Charles Dickens
    $11.00 US
    Paperback
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  • David Copperfield
    David Copperfield
    Charles Dickens
    $8.95 US
    Paperback
    Nov 28, 2000
  • Moby-Dick
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    Paperback
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    Joseph Conrad
    $11.00 US
    Paperback
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  • Romances
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    William Shakespeare
    $26.00 US
    Hardcover
    Apr 07, 1997
  • The Histories
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    Herodotus
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    Hardcover
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  • Histories, vol. 2
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    Volume 2; Introduction by Tony Tanner
    William Shakespeare
    $28.00 US
    Hardcover
    Nov 01, 1994
  • The Theban Plays
    The Theban Plays
    Introduction by Charles Segal
    Sophocles
    $22.00 US
    Hardcover
    Oct 18, 1994
  • Histories, vol. 1
    Histories, vol. 1
    Volume 1; Introduction by Tony Tanner
    William Shakespeare
    $28.00 US
    Hardcover
    Oct 04, 1994
  • Fear and Trembling and The Book on Adler
    Fear and Trembling and The Book on Adler
    Introduction by George Steiner
    Soren Kierkegaard
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    Hardcover
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  • Democracy in America
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    Introduction by Alan Ryan
    Alexis de Tocqueville
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  • The Souls of Black Folk
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    Introduction by Arnold Rampersad
    W. E. B. Du Bois
    $22.00 US
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    Oct 26, 1993
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    A Tale of Two Cities
    Introduction by Simon Schama
    Charles Dickens
    $30.00 US
    Hardcover
    Feb 23, 1993
  • The Sonnets and Narrative Poems of William Shakespeare
    The Sonnets and Narrative Poems of William Shakespeare
    Introduction by Helen Vendler
    William Shakespeare
    $21.00 US
    Hardcover
    Dec 15, 1992
  • The Awakening
    The Awakening
    Introduction by Elaine Showalter
    Kate Chopin
    $21.00 US
    Hardcover
    Nov 03, 1992
  • Canterbury Tales
    Canterbury Tales
    Introduction by Derek Pearsall
    Geoffrey Chaucer
    $28.00 US
    Hardcover
    Jun 30, 1992
  • The Aeneid
    The Aeneid
    Introduction by Philip Hardie
    Virgil
    $28.00 US
    Hardcover
    Jun 30, 1992
  • Dr. Jekyll and Mr. Hyde
    Dr. Jekyll and Mr. Hyde
    Introduction by Nicholas Rance
    Robert Louis Stevenson
    $20.00 US
    Hardcover
    Apr 28, 1992
  • Utopia
    Utopia
    Introduction by Jenny Mezciems
    Thomas More
    $20.00 US
    Hardcover
    Apr 28, 1992
  • The House of Mirth
    The House of Mirth
    Introduction by Pamela Knights
    Edith Wharton
    $26.00 US
    Hardcover
    Nov 26, 1991
  • Pride and Prejudice
    Pride and Prejudice
    Introduction by Peter Conrad
    Jane Austen
    $26.00 US
    Hardcover
    Oct 15, 1991
  • The Wealth of Nations
    The Wealth of Nations
    Introduction by D. D. Raphael and John Bayley
    Adam Smith
    $28.00 US
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    Oct 15, 1991
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    Charles Dickens
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    Hardcover
    Oct 15, 1991

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