Synopses & Reviews
The Art of The Novella
Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. The Art of the Novella collection celebrates this renegade art form and it’s most illustrious practitioners with 42 of the most famous novellas ever published.
“Elegant-looking paperback editions…a good read in a small package.”
—The Wall Street Journal
The Art of the Novella collection includes one each of the following titles:
A Simple Heart by Gustave Flaubert
A Sleep and a Forgetting by William Dean Howells
Adolphe by Benjamin Constant
The Awakening by Kate Chopin
Bartleby the Scrivener by Herman Melville
The Beach at Falesa by Robert Lewis Stevenson
Benito Cereno by Herman Melville
The Country of the Pointed Firs by Sarah Orne Jewett
The Coxon Fund by Henry James
The Dead by James Joyce
The Death of Ivan Ilych by Leo Tolstoy
The Devil by Leo Tolstoy
The Dialogues of the Dogs by Miguel de Cervantes
The Eternal Husband by Fyodor Dostoevsky
First Love by Ivan Turgenev
Freya of the Seven Isles by Joseph Conrad
The Girl with the Golden Eyes by Honore de Balzac
The Hound of the Baskervilles by Arthur Conan Doyle
The Horla by Guy de Maupassant
How the Two Ivans Quarrelled by Nikolai Gogal
Jacob's Room by Virginia Woolf
Lady Susan by Jane Austen
The Lemoine Affair by Marcel Proust
The Lesson of the Master by Henry James
The Lifted Veil by George Eliot
The Man that Corrupted Hadleyburg by Mark Twain
The Man Who Would be King by Rudyard Kipling
Mathilda by Mary Shelley
May Day by F. Scott Fitzgerald
Michael Kohlass by Heinrich Von Kleist
My Life by Anton Chekhov
The Nice Old Man and the Pretty Girl by Italo Svevo
Parnassus on Wheels by Christopher Morley
Rasselas, Prince of Abyssinia by Samuel Johnson
Stempenyu: A Jewish Romance by Sholem Aleichem
Tales of Belkin by Alexander Pushkin
The Touchstone by Edith Warton
The Duel by Giacomo Casanova
The Duel by Joseph Conrad
The Duel by Anton Chekhov
The Duel by Heinrich Von Kleist
The Duel by Aleksandr Kuprin
“I wanted them all, even those I’d already read.”
The master of realism, George Eliot, makes a daring departure in this dark tale of ESP, mesmerism, and telepathy. In this little-known story-the only thing she ever wrote using a first-person voice-she explores the psychological state of a man who can read people's minds and see into the future, then finds himself in danger when he falls in love with a woman whose mind he can't read.
Horror was my familiar.
Published the same year as her first novel, Adam Bede, this overlooked work displays the gifts for which George Eliot would become famous—gritty realism, psychological insight, and idealistic moralizing. It is unique from all her other writing, however, in that it represents the only time she ever used a first-person narrator, and it is the only time she wrote about the supernatural.
The tale of a man who is incapacitated by visions of the future and the cacophony of overheard thoughts, and yet who can’t help trying to subvert his vividly glimpsed destiny, it is easy to read The Lifted Veil as being autobiographically revealing—of Eliot’s sensitivity to public opinion and her awareness that her days concealed behind a pseudonym were doomed to a tragic unveiling (as indeed came to pass soon after this novella’s publication). But it is easier still to read the story as the exciting and genuine precursor of a moody new form, as well as an absorbing early masterpiece of suspense.
The Art of The Novella Series
Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.
About the Author
George Eliot was born Mary Anne Evans in Chilvers Coton, England in 1819 on an estate managed by her father. When her mother did she left school to run the household, continuing her education alone in the estate’s library. She was multi-lingual and steeped in classical literature by the time a series of her essays and translations led to an invitation to London to edit the prestigious Westminster Review—anonymously, for fear a female editor would put off readers. When nearly 40 she published the story collection Scenes of Clerical Life, under the pseudonym George Eliot, partly because she was living with a married man, radical publisher George Henry Lewes, and feared being shunned by the public. Bu tin 1849 her fist novel Adam Bede, with its startling realism and psychologically astute characterizations, caused a sensation—and prompted an imposter to claim authorship. Evans revealed herself and was indeed ostracized, although less so with each successful new book, from The Mill on the Floss to Silas Marner and Middlemarch. After 25 years together Lewes died and, still grieving, she married their banker, a man 20 years her junior. She died shortly thereafter in 1880.