Norton Critical

Jonson on His Work collects statements by the author on plays and on poetry taken from some of the plays, from Discoveries, and from Conversations with William Drummond of Hawthornden.

Contemporary Readers on Jonson includes tributes and poems about the author and his work. A new section--"Backgrounds and Sources"--includes selections from texts that helped shaped the dramatist's vision.

Criticism includes twelve essays--nine of them new to the Second Edition--by Jonas A. Barish, Robert C. Evans, Anne Barton, John Dryden, Robert Watson, Edward B. Partridge, Ian Donaldson, Richard Harp, D. J. Gordon, Stephen Orgel, John Mulryan, and Leah S. Marcus.

"Contexts" is thematically organized and includes a rich and varied selection of materials, both public and private, focusing on Hawthorne's inspirations for the novel. Included are letters, excerpts from journals, published accounts of Brook Farm and the growth of antebellum social reform, Hawthorne's letters to Sophia Peabody and Louisa Hawthorne about his first days at Brook Farm, and later letters describing his growing reservations about and decision to leave the utopian community. The Blithedale Romance raises interesting questions about the role of women, the popularity of mesmerism, and the growth of cities in mid-nineteenth-century America. Margaret Fuller, Charles Baudelaire, and Hawthorne, among others, provide invaluable insight.

"Criticism" begins with major contemporary reviews by Herman Melville, William B. Pike, George S. Hillard, James T. Fields, Henry Fothergill Chorley, and others that suggest The Blithedale Romance's initial reception. "Selections from Classic Studies" reprints key excerpts from influential essays published through the 1970s, including those by Henry James, D. H. Lawrence, Irving Howe, and James McIntosh.

"Recent Criticism" collects a striking range of scholarly interpretation by Nina Baym, Joel Pfister, Gillian Brown, Richard H. Brodhead, Lauren Berlant, Russ Castronovo, Robert S. Levine, and Richard H. Millington.

A Chronology and a Selected Bibliography are also included.

This Norton Critical Edition of Gaskell's first novel is based on the 1854 Fifth Edition, the last edition corrected by the author.

"Contexts" includes letters related to Mary Barton's publication as well as Gaskell's reaction to her harshest critics. Ten contemporary reviews reflect the dual nature of the novel's critical reception: one group valuing its eye-opening moral energy and concern for the suffering of the working classes and the other group taking Gaskell to task for the deceptive implications of her perceived flawed reasoning. A section featuring fifteen illustrations from the novel offers readers the opportunity to explore narrative emphases.

"Criticism" collects seventeen major interpretations of the novel's central themes. Contributors include Kathleen Tillotson, Richard D. Altick, John Lucas, Catherine Gallagher, Hilary Schor, Deborah Epstein, Susan Zlotnick, Jonathan H. Grossman, and Liam Corley, among others.

A Chronology of Gaskell's life and work and a Selected Bibliography are also included.

This fiercely comic tale stands in marked contrast to its genial predecessor, "The Pickwick Papers." Set against London's seedy back street slums, "Oliver Twist" is the saga of a workhouse orphan captured and thrust into a thieves' den, where some of Dickens's most depraved villains preside: the incorrigible Artful Dodger, the murderous bully Sikes, and the terrible Fagin, that treacherous ringleader whose grinning knavery threatens to send them all to the "ghostly gallows." Yet at the heart of this drama is the orphan Oliver, whose unsullied goodness leads him at last to salvation. In 1838 the publication of "Oliver Twist" firmly established the literary eminence of young Dickens. It was, according to Edgar Johnson, "a clarion peal announcing to the world that in Charles Dickens the rejected and forgotten and misused of the world had a champion."

Silas Lapham is a rough-hewn entrepreneur who has made his fortune in mineral paint. Socially ambitious for their daughters, Lapham and his wife encourage the suit of Tom Corey, son of an aristocratic Boston family, whose own parents are appalled by his consorting with vulgar upstarts. But which Lapham girl does Tom really love: the pretty blonde Irene or her bookish sister Penelope? As the romantic confusion is sorted out, Lapham suffers calamities that threaten both his financial and personal integrity. His rise is ultimately a moral one. The first major American novel to centre on a businessman, The Rise of Silas Lapham (1885) explores the capitalist ethos of the American Gilded Age. It is also a brilliant novel of manners that shows the comic confrontation of old wealth and new riches.