Everyman's Library CLASSICS

Chekhov, widely hailed as the supreme master of the short story, also wrote five works long enough to be called short novels. The Steppe-the most lyrical of the five-is an account of a nine-year-old boy's frightening journey by wagon train across the steppe of southern Russia to enroll in a distant school. The Duel sets two decadent figures-a fanatical rationalist and a man of literary sensibility-on a collision course that ends in a series of surprising reversals. In The Story of an Unknown Man, a political radical plans to spy on an important official by serving as valet to his son, however, as he gradually becomes involved as a silent witness in the intimate life of his young employer, he finds that his own terminal illness has changed his long-held priorities in startling ways. Three Years recounts a complex series of ironies in the personal life of a rich but passive Moscow merchant, engaging time as a narrative element in a way unusual in Chekhov's fiction. In My Life, a man renounces wealth and social position for a life of manual labour, and the resulting conflict between the moral simplicity of his ideals and the complex realities of human nature culminates in an apocalyptic vision that is unique in Chekhov's work.

The brevity of Muriel Spark's novels is equaled only by their brilliance. These four novels, each a miniature masterpiece, illustrate her development over four decades. Despite the seriousness of their themes, all four are fantastic comedies of manners, bristling with wit.
Spark's most celebrated novel, THE PRIME OF MISS JEAN BRODIE, tells the story of a charismatic schoolteacher's catastrophic effect on her pupils. THE GIRLS OF SLENDER MEANS is a beautifully drawn portrait of young women living in a hostel in London in the giddy postwar days of 1945. THE DRIVER'S SEAT follows the final haunted hours of a woman descending into madness. And THE ONLY PROBLEM is a witty fable about suffering that brings the Book of Job to bear on contemporary terrorism.

Characters are vividly etched in a few words; earth-shaking events are lightly touched on. Yet underneath the glittering surface there is an obsessive probing of metaphysical questions: the meaning of good and evil, the need for salvation, the search for significance.

Initially an almost grotesquely comic figure, Pnin gradually grows in stature by contrast with those who laugh at him. Whether taking the wrong train to deliver a lecture in a language he has not mastered or throwing a faculty party during which he learns he is losing his job, the gently preposterous hero of this enchanting novel evokes the reader's deepest protective instinct.

Serialized in The New Yorker and published in book form in 1957, PNIN brought Nabokov both his first National Book Award nomination and hitherto unprecedented popularity.

Pevear and Volokhonsky's translation is the only translation that counts. They are the only translators who succeed in making Dostoevsky accessible to a 21st century audience, thanks to their ruthless attention to detail at the expense of alterations which can dilute Dostoevsky's unique and flowing style of writing. The great appeal this book retains even today is in part due to Pevear and Volokhonsky, as well as to Dostoevsky himself. Furthermore, Richard Pevear's substantial introduction is essential reading. It explains the purpose of the book and the historical significance of its ideas. Dostoevsky was writing at a time when Russia had reason to be optimistic, but the warning signs in his fiction perhaps leave us clues as to why Russia still has social problems today - and why, less than 40 years after Dostoevsky's death, Russia embraced Communism and destroyed the society in which Dostoevsky had lived

One of the founding documents of Western culture and the only surviving ancient Greek trilogy, this is one of the great tragedies of all time. The three plays portray the bloody events that follow the victorious return of King Agamemnon from the Trojan War.
Contains Agamemnon, Choephoroe and Eumenides

The illegitimate son of a landowner and his common-law peasant wife, Arkady Dolgoruky has scarcely seen these parents during his nineteen years of life. In a narrative combining farce and pathos, Dostoevsky describes Arkady's visit to St Petersburg in search of the 'accidental family' who have dominated his dreams. The confrontation with them does not turn out quite as he imagined it. This relatively late novel, written in the last decade of the author's life, nevertheless captures the exuberance and embarrassments, the bliss and bale of adolescence in all its volatility and uncertainty.

When the eminent naturalist Charles Darwin returned from South America on board the H.M.S Beagle in 1836, he brought with him the notes and evidence which would form the basis of his landmark theory of evolution of species by a process of natural selection. This theory, published as The Origin of Species in 1859, is the basis of modern biology and the concept of biodiversity. It also sparked a fierce scientific, religious and philosophical debate which still continues today.

Sixty-one when she published her first novel, Penelope Fitzgerald based many subsequent books on the experiences of a long and varied life.

Offshore, which won the Booker Prize in 1979, explores her time living on a barge at Battersea Reach.

Human Voices takes place in the BBC where she worked during World War II. Both are vivid, intimate pictures of ordinary life, startling, sad and funny by turns, conjuring up complex worlds with the economy of poetry.

The Beginning of Spring is an historical novel operating on a larger canvas. It presents a life unknown to the author through a story of English émigrés in pre-Revolutionary Russia and has been described by one critic as the best ‘Russian’ novel of the twentieth century.

Written with energy, passion and wit, and each quite different from the others, all three of these masterpieces reveal a lightness of touch with the most serious matters unlike anything else in contemporary fiction.

Describing his collection of Essays as ‘a book consubstantial with its author’, Montaigne identified both the power and the charm of a work which introduces us to one of the most attractive figures in European literature. A humanist, a sceptic, an acute observer of himself and others, he reflects the great themes of existence through the prism of his own self-consciousness. Apparent in every line he wrote, his virtues of tolerance, moderation and disinterested inquiry amount to an undeclared manifesto for the Enlightenment, whose prophet he is. This complete edition of his works supplements the Essays with travel diaries and letters, thereby completing the portrait of a true Renaissance man.

The only complete collection of shorter fiction by the undisputed master of detective literature, assembled here for the first time in one volume, includes stories unavailable for decades. When Raymond Chandler turned to writing at the age of forty-five, he began by publishing in pulp magazines such as Black Mask before later writing his famous novels. In these stories Chandler honed his art and developed his uniquely vivid underworld, peopled with good cops and bad cops, informers and extortionists, lethally predatory blondes and redheads, and crime, sex, gambling and alcohol in abundance. In addition to his classic detective fiction – in which his signature atmosphere of depravity and violence swirls around cool, intuitive loners such as Philip Marlowe – Chandler turned his hand to fantasy and even a Gothic romance. This rich treasury of twenty-five stories shows him developing the laconic, understated style that would serve him so well in his later masterpieces, immersing readers in the richly realized fictional universe that has become a part of our literary landscape.

Includes 'The Freedom of the Press', intended as the preface to 'Animal Farm' but undiscovered until 1972. Considered by Noam Chomsky to be Orwell's most important essay. These essays demonstsrate the life and work of one of the most individual writers of the last century.

Raymond Chandler’s first three novels, published here in one volume, established his reputation as an unsurpassed master of hard-boiled detective fiction.

The Big Sleep, Chandler’s first novel, introduces Philip Marlowe, a private detective inhabiting the seamy side of Los Angeles in the 1930s, as he takes on a case involving a paralysed California millionaire, two psychotic daughters, blackmail and murder.

In Farewell, My Lovely, Marlowe deals with the gambling circuit, a murder he stumbles upon, and three very beautiful but potentially deadly women.

In The High Window, Marlowe searches the California underworld for a priceless gold coin and finds himself deep in the tangled affairs of a dead coin collector.

In all three novels, Chandler’s hard-edged prose, colourful characters, vivid vernacular, and, above all, his enigmatic loner of a hero, establish his enduring claim to the heights of his chosen genre.

Creator of the famous Philip Marlowe, Raymond Chandler elevated the American hard-boiled detective genre to an art form. His last four novels, published here in one volume, offer ample opportunity to savour the unique and compelling fictional world that made his works modern classics.

The Lady in the Lake moves Marlowe out of his usual habitat of city streets and into the mountains outside Los Angeles in his strange search for a missing woman.

The Little Sister takes Marlowe to Hollywood, where he tries to find a sweet young thing’s missing brother, uncovering on the way a little blackmail, a lot of drugs, and more than enough murder.

In The Long Goodbye, a case involving a war-scarred drunk and his nymphomaniac wife has Marlowe constantly on the move: a psychotic gangster’s on his trail, he’s in trouble with the cops, and more and more corpses keep turning up.

Playback features a well-endowed redhead who leads Marlowe to the California coast to solve a tale of big money and, of course, murder.

Throughout these masterpieces, Marlowe’s wry humour and existential sense of his job prove yet again why he has become one of the most recognized and imitated characters in fiction.

Possibly the most colourful figure in the history of Western music, Hector Berlioz (1803–1869) was certainly the most eloquent. His autobiography is among the greatest ever written. Larger than life – like his massive works – Berlioz was a seminal figure in the Romantic movement and his book is both a personal testament and an account of his role in that movement. It tells the story of his romance with Harriet Smithson –with whom he fell in love when he saw her playing the part of Ophelia – and his even more passionate affairs with Shakespeare, Scott and Byron.

Familiar with all the great figures of the age – Liszt, Wagner, Balzac, Delacroix, Weber, Rossini – Berlioz paints brilliant and often mordant portraits of them in a style which is one of the glories of French prose. Above all, this is the intimate and detailed self-revelation of a complex and attractive man, driven by his creative urges to a position of lonely eminence.

The Memoirs of Hector Berlioz were translated some years ago by David Cairns now famous himself as the composer’s finest biographer. For the Everyman edition he has completely revised the text, and the extensive notes which accompany it, to take account of the latest research.

This study of natural goodness is Dostoevsky’s most touching novel. Prince Myshkin, the last, poverty-stricken member of a once great family and regarded by many as an idiot, returns to Russia from a sanatorium in Switzerland in order to collect an inheritance. Before he has even arrived home he becomes involved with Rogozhin, a rich merchant’s son whose obsession with the fascinating Nastasya Filippovna eventually draws all three of them into a tragic denouement. But this is only the main thread of a rich and complex book in which a dazzling host of characters, from generals to street urchins, present the picture of an entire society on the verge of dissolution. A tragicomic masterpiece.