Penguin Modern Classics

Lawrence asserted that 'the proper function of a critic is to save the tale from the artist who created it'. In these highly individual, penetrating essays he has exposed 'the American whole soul' within some of that continent's major works of literature. In seeking to establish the status of writings by such authors as Poe, Melville, Fenimore Cooper and Whitman, Lawrence himself has created a classic work. Studies in Classic American Literature is valuable not only for the light it sheds on eighteenth- and nineteenth-century American consciousness, telling 'the truth of the day', but also as a prime example of Lawrence's learning, passion and integrity of judgement.

Isak Dinesen takes up the absorbing story of her life in Kenya begun in the unforgettable Out of Africa, which she published under the name of Karen Blixen. With warmth and humanity these four stories illuminate her love both for the African people, their dignity and traditions, and for the beauty and wildness of the landscape. The first three were written in the 1950s and the last, 'Echoes from the Hills', was written especially for this volume in the summer of 1960 when the author was in her seventies. In all they provide a moving final chapter to her African reminiscences.

Coloured by poverty and horrifying brutality, Gorky's childhood equipped him to understand - in a way denied to a Tolstoy or a Turgenev - the life of the ordinary Russian. After his father, a paperhanger and upholsterer, died of cholera, five-year-old Gorky was taken to live with his grandfather, a polecat-faced tyrant who would regularly beat him unconscious, and with his grandmother, a tender mountain of a woman and a wonderful storyteller, who would kneel beside their bed (with Gorky inside it pretending to be asleep) and give God her views on the day's happenings, down to the last fascinating details. She was, in fact, Gorky's closest friend and the epic heroine of a book swarming with characters and with the sensations of a curious and often frightened little boy. My Childhood, the first volume of Gorky's autobiographical trilogy, was in part an act of exorcism. It describes a life begun in the raw, remembered with extraordinary charm and poignancy and without bitterness. Of all Gorky's books this is the one that made him 'the father of Russian literature'.

A young and inexperienced sea captain finds that his first command leaves him with a ship stranded in tropical seas and a crew smitten with fever. As he wrestles with his conscience and with the increasing sense of isolation that he experiences, the captain crosses the ‘shadow-line’ between youth and adulthood. In many ways an autobiographical narrative, Conrad's novella was written at the start of the Great War when his son Borys was at the Western Front, and can be seen as an attempt to open humanity’s eyes to the qualities needed to face evil and destruction.

'It's only after our death that we shall really be able to hear' The measured tone of hopeless nihilism that pervades The Counterfeiters quickly shatters any image of André Gide as the querulous and impious Buddha to a quarter-century of intellectuals. In sharp and brilliant prose a seedy, cynical and gratuitously alarming narrative is developed, involving a wide range of otherwise harmless and mainly middle-to-upper-class Parisians. But the setting could be anywhere. From puberty through adolescence to death, The Counterfeiters is a rare encyclopedia of human disorder, weakness and despair.

Eminent Victorians marked an epoch in the art of biography; it also helped to crack the old myths of high Victorianism and to usher in a new spirit by which chauvinism, hypocrisy and the stiff upper lip were debunked. In it Strachey cleverly exposes the self-seeking ambitions of Cardinal Manning and the manipulative, neurotic Florence Nightingale; and in his essays on Dr Arnold and General Gordon his quarries are not only his subjects but also the public-school system and the whole structure of nineteenth-century liberal values.

At birth Edmund Gosse was dedicated to 'the Service of the Lord'. His parents were Plymouth Brethren. After his mother's death Gosse was brought up in stifling isolation by his father, a marine biologist whose faith overcame his reason when confronted by Darwin's theory of evolution. Father and Son is also the record of Gosse's struggle to 'fashion his inner life for himself' - a record of whose full and subversive implications the author was unaware, as Peter Abbs notes in his Introduction. First published anonymously in 1907, Father and Son was immediately acclaimed for its courage in flouting the conventions of Victorian autobiography and is still a moving account of self-discovery.

If you know London primarily through novels like WHITE FANG, these stories will provide a new perspective. Full of intriguing characters and snippets of pidgin, they also highlight London's concern with social issues.

You and I met and fell in love passionately, impatiently, dangerously. I regret nothing and I feel that these last days I’ve lived are enough to justify a life. – Albert Camus to Maria Casarès, 1^st July 1944

Their affair began in wartime Paris. Maria Casarès, a young Spanish actress, was starring in a production of the great writer’s play The Misunderstanding, and at an after-party hosted by Simone de Beauvoir and Jean-Paul Sartre, they embarked on a brief but passionate relationship. Separated by the end of the Occupation and the return of Camus’s wife to Paris, the couple were reunited by chance one day on the boulevard Saint-Germain, and from that day forward – until the fatal car crash that took Camus’s life in 1960 – they were inseparable.

Their correspondence, uninterrupted for over a decade, is testimony to the depth of their connection while also offering a vivid portrait of artistic life in post-war Europe. Camus and Casarès debate books and politics; describe encounters with Colette, Cocteau, Gide and Picasso; discuss stardom and everyday life, their love of the sea and nature, their doubts and dreams. Above all, they describe a relationship that feels like an impossible gift.

Translated into English for the first time by Sandra Smith and Cory Stockwell, these 865 letters reveal the intimate personal lives of two extraordinary artists, and record one of the great love affairs of the twentieth century.

In city squares and golden palaces, a series of storytellers recount the history of the greatest Empire that never was: a history in which orphans rise from the underworld to the throne, mad emperors raze cities, captive dancers induce fatal delirium and murderous empresses plot against their own children.

Angélica Gorodischer’s novel, masterfully translated by Ursula K. Le Guin, conjures a vivid fictional universe of labyrinthine cities, desert caravans and the lawless South – and of an Empire fated to rise, fall and rise again.

Part pulp adventure, part otherworldly meditation, this is the story of Trafalgar Medrano: intergalactic trader and lover of bitter coffee and black cigarettes. In the bars and cafés of Rosario, Argentina, he recounts tall tales of his space escapades - involving, among other things, time travel and dancing troglodytes.

Cosmopolitan, philosophical and, above all else, pure fun, Angélica Gorodischer's Trafalgar is a unique blend of science fiction, magical realism and shaggy-dog tale from one of Argentina's most distinctive writers.

Two small boys stand on a rubbish heap and look into the future. One boy is excited, he is beginning school; the other, his brother, is an apprentice carpenter. Together, they will serve their country – the teacher and the craftsman.

But this is colonial Kenya and times are against them. In the forests, the Mau Mau are waging war against the white government, and the two brothers, Njoroge and Kamau, and the rest of their family, need to decide where their loyalties lie. For the practical man, the choice is simple, but for Njoroge, the scholar, the dream of progress through learning is a hard one to give up.

The debut novel from a giant of African literature, Ngugi wa Thiong'o’s powerful story about the tragic effects of colonialism on the lives of ordinary people continues to resonate strongly today.

Sent to a remote village to live with their grandmother, twins Claus and Lucas devise physical and mental exercises to render themselves invulnerable to the ongoing horrors of war and living under a totalitarian regime. When their bond is tested, their collective ‘we’ shatters and the boys become isolated in different countries. Lucas is challenged to prove his identity and that of his missing brother, a defector to ‘the other side’.

Kristóf’s haunting and unforgettable masterpiece has been an international phenomenon ever since its first publication in French 40 years ago. Distilling the brutally fracturing effects of war and displacement onto identity and memory, and our need for stories in our search for unity and meaning, The Notebook Trilogy is stark fable of timeless relevance.

Sin and green shutters: both entailed lots of unexpected consequences that weren’t easy to see at first glance . . .

In the twilight of his career, ‘The Great’ Emile Maugin, a once-celebrated actor, receives devastating news: he does not have long left to live. Hounded by rage, alcoholism and the memories of his fractured childhood, he sleepwalks through the sodden marshes of the Vendée and the stage doors and dimly-lit bars of postwar Paris. Yet, faintly visible on the horizon of his mind, stands a white house with green shutters and manicured lawns, whose inhabitants lead the ‘normal life’ that lies just beyond Maugin’s reach.

First published in 1950, The Green Shutters cuts to the heart of a desperate man, showcasing Simenon’s unparalleled ability to delve into the depths of the human soul and asking: what is left to us when time runs out?

Write! Writing is for you, you are for you, your body is for you, take it.

First published in 1975, Medusa’s Laugh represented a defining moment for French feminism. In this landmark essay, feminist theorist and philosopher Hélène Cixous coined the term écriture féminine (or ‘feminine writing’). Allowing women to claim authority in the face of systematic oppression, she imagines this new mode of writing to be defined by a generous, open attitude to otherness and distinct from patriarchal models of communication. Part philosophical treatise, part political manifesto, Medusa’s Laugh is a clarion call to write – for ourselves and of ourselves – and is one of the most important works of second-wave feminism.

Translated by Eric Prenowitz.