The Enchanted April

The Enchanted April (Woolf Haus Classics)

Literature & Fiction

ELIZABETH VON ARNIM

Literary

Woolf Haus Publishing

The Fortunes of Richard Mahony (Woolf Haus Classics)

Henry Handel Richardson

'Termed the finest study of the mind of a dog ever written, a few boldly assert that it is no doubt one of the greatest portrayals of a man's mind' - New York Times\nIn Bashan and I (sometime referred to as A Man and His Dog), Thomas Mann, the Nobel Prize-winning author of The Magic Mountain and Death in Venice, writes in the most remarkable way of the unique relation that links a dog with his master. These memoirs read as a novel, and describe in fierce detail the behavior, feelings and psychology of Mann's dog Bashan, and of Mann himself. Mann tells how he acquired Bashan, details traits of his character, and describes how they go on harmless and bucolic hunts.\nWritten in 1918 at the end of the First World War, Bashan and I is an ode to life, to nature, to simple joys, and to a dog.\nPraise\n"Termed the finest study of the mind of a dog ever written, a few boldly assert that it is no doubt one of the greatest portrayals of a man's mind ... An extremely lovable story ... An enchanting classic." - New York Times\n"The life of a dog is a simple and strangely marvelous thing; and that finally may be what sets Bashan and I apart: it is true to the life of a dog."-Gary Amdahl, Ruminator Review\nAbout the author\nThomas Mann (1875-1955), author of many novels and stories, including Magic Mountain, Death in Venice, Buddenbrooks, and Doctor Faustus, received the Nobel Prize for Literature in 1929. An ardent antifascist, he left Germany in 1933 and became a U.S. citizen in 1944.

Bashan and I: A Man and His Dog (Woolf Haus Classics)

thomas-mann

Product Description "The most exciting novel I have ever read" - Bertrand Russell "At the end of the nineteenth century, Ethel Boole [Voynich] had gone to Russia as a young girl and become involved with the revolutionaries in Saint Petersburg. She wrote a novel called The Gadfly - it told a powerful, romantic story of a young girl who sacrificed everything for revolution. Without realising it, [Voynich] had become a hero of the Russian revolution ... her novel inspired millions of young revolutionaries in the 1920s to rise up and fight for the revolution, inspired by the idea of surrendering themselves to a grand historic cause. Then the same had happened in China - again, millions of young revolutionaries had carried The Gadfly in their backpacks, as they fought to create a new kind of future." - Adam Curtis, Can't Get You Out of My Head; An Emotional History of the Modern World"Masterpiece of story telling" - The New York Times Review "The most exciting novel I have ever read" - Bertrand Russell "At the end of the nineteenth century, Ethel Boole [Voynich] had gone to Russia as a young girl and become involved with the revolutionaries in Saint Petersburg. She wrote a novel called The Gadfly - it told a powerful, romantic story of a young girl who sacrificed everything for revolution. Without realising it, [Voynich] had become a hero of the Russian revolution ... her novel inspired millions of young revolutionaries in the 1920s to rise up and fight for the revolution, inspired by the idea of surrendering themselves to a grand historic cause. Then the same had happened in China - again, millions of young revolutionaries had carried The Gadfly in their backpacks, as they fought to create a new kind of future." - Adam Curtis, Can't Get You Out of My Head; An Emotional History of the Modern World"Masterpiece of story telling" - The New York Times About the Author Living quietly in New York, completely forgotten, was an Irish woman called Ethel Boole ... Boole thought that the way to change the world was to give yourself up to the force of revolution, to surrender your individual self and your identity to the dream of a better future for others. At the end of the nineteenth century, Ethel Boole had gone to Russia as a young girl and become involved with the revolutionaries in Saint Petersburg, and she wrote a novel called The Gadfly. It told a powerful, romantic story of a young girl who sacrified everything for revolution. She then married a Polish revolutionary called Wilfrid Voynich, and in the 1920s they went to live in New York, where he worked as an antiquarian bookseller and Ethel Boole forgot about revolution. But in 1959, when the Bolshoi Ballet came to New York the dancers were astonished to find that she was alive, and they rushed to visit her - because Ethel Boole, without her realising it, had become a hero of the Russian revolution. She discovered that her novel had inspired millions of young revolutionaries in the 1920s to rise up and fight for the revolution, inspired by the idea of surrendering themselves to a grand historic cause. Then the same had happened in China. Again, millions of young revolutions had carried The Gadfly in their backpacks, as they fought to create a new kind of future. - Adam Curtis, Can't Get You Out of My Head: An Emotional History of the Modern WorldEthel Lilian Voynich, née Boole (11 May 1864 - 27 July 1960) was an Irish novelist and musician, and a supporter of several revolutionary causes. She was born in Cork, but grew up in Lancashire, England. Voynich was a significant figure, not only on the late Victorian literary scene, but also in Russian émigré circles. She is best known for her novel The Gadfly, which became hugely popular in her lifetime, especially in Russia and China.

The Gadfly: The revolutionary best-seller which inspired Adam Curtis's Can't Get You Out of My Head

Ethel Lilian Voynich

Genre Fiction

Product Description "An intricate web of dependence, manipulation, and appropriation." - The New Yorker"Second Place owes a debt to Lorenzo in Taos, Mabel Dodge Luhan's 1932 memoir of the time D. H. Lawrence came to stay with her in Taos, New Mexico" - Rachel Cusk"It's the most serious 'confession' that ever came out of America and perhaps the most heart-destroying revelation of the American life-process that ever has or ever will be produced." - D.H LawrenceWritten in direct address to the poet Robinson Jeffers, "Lorenzo in Taos" is dedicated "To Tony and All Indians," but Tony and the Indians are a sideshow. The memoir's raison d'être is the arrival of D.H Lawrence, whom Mabel has mystically "summoned" to Taos to articulate the beauty of the Indian way of life. When Lawrence is keener on depicting Mabel's romance with Tony, she does not object, framing it in symbolic terms. "Of course it was for this I had called him from across the world," she writes, "to give him the truth about America: the false, new, external America in the east, and the true, primordial, undiscovered America that was preserved, living, in the Indian bloodstream." She intends Lawrence to write a parable about her escape from a fallen civilization to an American Eden.From Luhan's first encounter with the Lawrences, which she reports as a "vibratory disturbance," Luhan and Frieda Lawrence are suspicious of one another. After Luhan wears a dressing gown to her first planning session with Lawrence, and listens sympathetically as he gripes about his wife ("the hateful, destroying female"), Frieda bans their one-on-one meetings, and Lawrence's novel is dropped.Their relationship, though, is just getting started. Over the course of "Lorenzo in Taos," Lawrence attends Hopi ceremonies, steals some plausibly-deniable physical contact with Luhan (fingers meeting under soap suds, thighs brushing on horseback), berates Tony, pelts Frieda with stones, and sagely advises Luhan's son to beat his new wife. He and Frieda are in and out of Taos - whenever Lawrence is absent, Luhan feels a "psychic emptiness." She loves him, gives him up, then can't leave him alone. He spreads the rumour that she attempted to seduce him, and promises to "destroy" her, then assures her that she's no longer his enemy, and that, even when she was, he "never really forsook" her. She sends him a letter ending their friendship, because "his core was treacherous." To him, she will always be, in Luhan's words, "that greatest living abomination, the dominating American woman." Review "An intricate web of dependence, manipulation, and appropriation." - The New Yorker"Second Place owes a debt to Lorenzo in Taos, Mabel Dodge Luhan's 1932 memoir of the time D.H Lawrence came to stay with her in Taos, New Mexico" - Rachel Cusk"It's the most serious 'confession' that ever came out of America and perhaps the most heart-destroying revelation of the American life-process that ever has or ever will be produced." - D.H Lawrence"Lorenzo in Taos is packed with good phrases, [Luhan's] insights often have the ring of truth." - Frances Wilson"[Luhan is] a character who is not only a victim or an oppressor but both-a person enmeshed, as many of us are, in an intricate web of dependence, manipulation, and appropriation. This is a Luhan who compulsively confesses, compulsively narrativizes, compulsively lies. It is a troubled Luhan, whose talents are inextricable from her psychological damage. And it is not at all the Luhan who appears courtesy of Rachel Cusk." - Rebecca Panovka, The New Yorker About the Author Mabel Dodge Luhan (1879-1962) was a wealthy American patron of the arts, who was particularly associated with the Taos art colony. In mid--1912, Dodge held a weekly salon in her Greenwich Village apartment - notable guests included Carl Van Vechten, Margaret Sanger, Emma Goldman, Charles Demuth, Big Bill Haywood, Max Eastman, Lincoln Steffens, Hutchins Hapgood, Neith Boyce, and John Re

Lorenzo in Taos: The Inspiration behind Rachel Cusk's international bestseller Second Place (Woolf Haus Classics)

Biographies & Memoirs

Mabel Dodge Luhan

Arts & Literature

"More than any other monster of classic horror, Dracula pairs violent threat with a carnal one. Bram Stoker's Gothic novel revitalized the vampire legend." - The New York Times\nI was afraid to raise my eyes...\nLower and lower went her head as the lips went below the range of my mouth and chin and seemed about to fasten on my throat. Then she paused, and I could hear the churning sound of her tongue as it licked her teeth and lips, and could feel the hot breath on my neck. Then the skin of my throat began to tingle as one's flesh does when the hand that is to tickle it approaches nearer--nearer. I could feel the soft, shivering touch of the lips on the super--sensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in a languorous ecstasy and waited - -waited with beating heart.\nPraise for Dracula:\n"More than any other monster of classic horror, Dracula pairs violent threat with a carnal one. Bram Stoker's Gothic novel revitalized the vampire legend." - The New York Times\n"An exercise in dread ... something inhuman and utterly evil ... brimming with paranoia and a feeling of the unknowable ... only a few pages in and the story grabs you and won't let go." - The Guardian\n"Stoker did not intend for Dracula to serve as fiction, but as a warning of a very real evil." - Time Magazine\n"The towering masterpiece of fear." - Leonard Wolf\n"Dracula remains immortal." - National Review\n"Bram Stoker's Dracula is an apparition of repressed sex ... the effect of repression is to turn a hunger into a horror ... bestial, polluting, depleting, deathly, satanic, a fever in the blood ... the lurking menace in the shadow of every scene." - The New York Times\nAbout the author:\nBram Stoker (1847-1912), the author of Dracula, was born in Dublin in 1847. A sickly child, Bram was bedridden for much of his boyhood until about the age of seven. As a youth, Stoker was intrigued by the stories told him by his mother. Especially influential to the mind of young Stoker were the stories she related about the cholera epidemic of 1832 which claimed thousands of lives. These cruel and vivid tales began to shape the young Stoker's imagination.\nIn 1863, having made a full recovery, Bram entered Trinity College, Dublin, where he achieved notable success not only as a mathematician and in the Philosophical Society but also as an athlete. After graduating, he made the acquaintance of celebrated stage actor, Sir Henry Irving, England's greatest interpreter of Shakespeare. Stoker spent nearly thirty years as Irving's amanuensis and as the manager of Irving's Lyceum Theatre. Irving, the heavy exposure to Shakespeare, and the world of the theatre had a profound effect on Stoker.\nIn 1897, Stoker published his masterpiece, Dracula. While the book garnered critical success after its release, it didn't achieve peak popularity until well after its author's death. Stoker died in London, England, on April 20, 1912, after battling through years of poor health and shaky financial footing.

Dracula: The towering masterpiece of fear (Woolf Haus Classics)

Bram, Stoker

The Constant Nymph: Love and Loathing in Bohemia (Woolf Haus Classics)

MARGARET KENNEDY

Pride and Prejudice

Teen & Young Adult

Jane, Austen

'The world's bleakest romantic comedy' -- Los Angeles Times 
"An exuberant, extravagant chronicle of gestation which romps through to the final production of the Fante's firstborn in high Italianate style and immerses a succession of hair-raising to breast-beating sequences in tears -- and Chianti."--Kirkus 
"The universe of John Fante's fiction is so immediately moving, so poetically vivid, that it is hard to decide which is the greater quandary: that it went so long unrecognized, or that in the factitious worlds of publishing and Hollywood it is receiving such enormous recognition today."--Boston Review 
"Fante's disturbing, singular writing stands absolutely alone among American Depression and mid-century writers. He was always the equal, and often the better, of his recognized contemporaries: Fitzgerald, Steinbeck, West, Schulberg."--Neil Gordon 
"Charming and hilarious"--Salon 
"Fante's best writing ... astonishingly wide-ranging and compressed"--London Review of Books 
Dear Reader, if you have ever been a member of a family that has ever been "in a family way" this is your book. 
The narrator of this extravagant domestic comedy, who lives in Los Angeles, finds himself a home-owner and expectant father almost simultaneously and both sensations please him. It must be granted that there are certain adjustments to be made. One is to work out an amicable arrangement with his wife Joyce, who changes from a serene and reasonable companion to an unpredictable creature of compulsions and obsessions, furiously resenting any implication that her "condition" (a word she hates anyway) might be responsible. Aesthetically too, Joyce creates a problem for her sensitive husband, symbolised by her switch from a magical perfume called "Fernery at Twilight" to "a kind of Gayelord Hauser cologne, reeking of just plain good health, clean alcohol and simple soap." 
But it is the termites' ravishment of the kitchen floor that helps the Fante family in an uproar for the rest of the confinement. 
First Papa Nick Fante must be fetched - the best bricklayer in California. At his parents' house, it only take a few minutes for John to become aware that the child expected 'must' be a boy. No two ways about it. Unthinkable for the Fantes to be without a grandson. Against the obdurate reliance of his Papa and Mama on homemade insurance he is helpless: eggs and oysters are fine, but garlic in the keyhole and salt in the bed just can't be beaten. 
The return train trip with Papa is a hilarious nightmare, complete with tool kit, wine jugs, salami and goat cheese. Papa Fante is equipped with a violent Italian temper as well, and a sly knowledge of everyone's soft and sore spots, which knowledge he exploits shamelessly. 
Back in Los Angeles the caved in floor (it had sunk under Joyce' weight) is ignored and he decides to build a fireplace instead - "for his first grandson." The story of Uncle Mingo and the bandits must be preserved - "for his grandson" - and Papa and Joyce enter into a smug conspiracy that threatens to break up the household. 
The sight of the pregnant Joyce enchants her father-in-law. He adored the "voluptuous roundness that contained a part of him too," says the vastly impressed and also somewhat depressed husband. "You could see him tremble before it, giddy with joy, this extension of himself, the projection of his life far beyond the limits of his years upon the earth. I knew suddenly that even the birth of his own children had not held the romance and excitement of this child's coming."

Full of Life

John Fante

Humor & Satire

"The Magic Mountain is simply one of the greatest novels ever written." - The Guardian 
With this dizzyingly rich novel of ideas, Thomas Mann rose to the front ranks of the great modern novelists, winning the Nobel Prize for Literature in 1929. The Magic Mountain takes place in an exclusive tuberculosis sanatorium in the Swiss Alps - a community devoted to sickness that serves as a fictional microcosm for Europe in the days before the First World War. To this hermetic and otherworldly realm comes Hans Castorp, an "ordinary young man" who arrives for a short visit and ends up staying for seven years, during which he succumbs both to the lure of eros and to the intoxication of ideas. 
"Mann was a master of this genre, in private life as in his fiction." - The London Review of Books 
"In Mann's work the historic and contemporary retains its outsideness. He is a Wagnerian spellbinder, a mythmaker, but the myth always refers back to the real world." - The New York Review of Books 
"Mann's sense of vulnerability modifies his temptation to abstraction; his awareness of the tawdry and shameful humanizes his concentration on the very act of art. He is saved by the perverse, by the knowledge that comes from having looked at the lost. For this his greatness, threatened by its own energy, still inspires awe and love." - The New York Times 
"The Magic Mountain taught me that big ideas have vitality, that intellectual life could make for great storytelling, and that the map of an age could be found in the personalities of the people who lived it, lessons that I carried into the writing of history. But the truth is, I have returned again and again to The Magic Mountain because the characters who inhabit it are such delightful company." -- The American Scholar 
"[The Magic Mountain] is one of those works that changed the shape and possibilities of European literature. It is a masterwork, unlike any other. It is also, if we learn to read it on its own terms, a delight, comic and profound, a new form of language, a new way of seeing." - A. S. Byatt 
"Long acclaimed as a masterly synthesis of the intellectual history of early 20th-century Europe and for its prescient scrutiny of elements in the German national character that had, and would again, find expression in the calamitous form of the world war." - Kirkus 
"Magnificent... a beautiful, feverish account of obsessive love" - Jonathan Coe 
"A monumental writer" - Sunday Telegraph 
"The greatest German novelist of the 20th century" - Spectator 
"Mann is Germany's outstanding modern classic, a decadent representative of the tradition of Goethe and Schiller. With his famous irony, he was up there with Schopenhauer, Nietzsche and Freud, holding together the modern world with a love of art and imagination to compensate for the emptiness left by social and religious collapse." - Independent 
"Mann's real masterpiece is his sprawling snowbound epic of 1924, The Magic Mountain ... The entire work is suffused with a sly and gentle humour, making it an absolute delight to read ... A book I return to every couple of years, The Magic Mountain is simply one of the greatest novels ever written." - The Guardian

The Magic Mountain

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