The Bell Jar is a classic of American literature, with over two million copies sold in this country. This extraordinary work chronicles the crackup of Esther Greenwood: brilliant, beautiful, enormously talented, successful -- but slowly going under, and maybe for the last time. Step by careful step, Sylvia Plath takes us with Esther through a painful month in New York as a contest-winning junior editor on a magazine, her increasingly strained relationships with her mother, and with the boy she dated in college, and eventually, devastatingly, into the madness itself. The reader is drawn into her breakdown with such intensity that her insanity becomes completely real and even rational, as probable and accessible an experience as going to the movies.

THE BLUEST EYE chronicles the tragic, torn lives of a poor black family in 1940s Ohio: Pauline, Cholly, Sam and Pecola. Pecola, unlovely and unloved, prays each night for blue eyes like those of her privileged blond white schoolfellows. She becomes the focus of the mingled love and hatred engendered by her family's frailty and the world's cruelty as the novel moves toward a savage but poignant resolution.

This Norton Critical Edition includes the most admired of Chaucer’s Canterbury Tales.

Each is presented in the original language, with normalized spelling and substantial annotations for modern readers. Among the new added to the Second Edition are the much-requested "Merchant’s Tale" and the "Tale of Sir Thopas." "Sources and Backgrounds" are included for the General Prologue and for most of the tales, enabling students to understand The Canterbury Tales in light of relevant medieval ideas and attitudes and inviting comparison between Chaucer’s work and his sources. "Criticism" includes nine essays, four of them new to this edition, by leading Chaucerians, among them F. R. H. DuBoulay, E. Talbot Donaldson, Barbara Nolani, and Lee Patterson. A Chronology and Selected Bibliography are also included.

The Roman dramatist Terence (c. 186-159 BC) adapted many of his comedies from Greek sources, rendering them suitable for audiences of his own time by introducing subtler characterization and more complex plots. In his romantic play, "The Girl from Andros" Terence portrays a love affair saved by a startling discovery. "The Self-Tormentor" focuses on a man's remorse after sending his son to war, and "The Eunuch" depicts a case of mistaken identity. "Phormio" is as rich in intrigue as a French farce, while "The Mother-in-Law" shows two families striving to save a marriage and "The Brothers" contrasts strict and lenient upbringings. With their tight plots and spare dialogue, Terence gave his plays a sense of humanity that became a model in the Renaissance and greatly influenced Moliere.

The Fiction of Robert Antoni: Writing in the Estuary is the first full-length study of the work of this important Trinidadian/ Bahamian Caribbean writer. When his first novel, Divina Trace, appeared in 1992, one critic compared it to a collaboration between James Joyce and Gabriel García Márquez. But Antoni's fiction is startlingly original. Each of his subsequent books is quite different from the one before, but all have their common origin in generations of experience in the West Indies, much of which was passed down to Antoni through a rich family tradition of storytelling. The novels are marked as well by Antoni's almost unique ability to navigate both the headwaters and tributaries of Caribbean folk tale and the limitless oceans of modernist and postmodernist texts. Taken together, Antoni's work postulates and embodies a Caribbean sensibility that is estuarial: almost every paragraph displays the multiple tributaries that form Caribbean culture, as well as the impulse to mix, mingle and reach out to the wider world, like a river flowing into the sea.

Patteson places Antoni's work in the multiple contexts of Caribbean storytelling, twentieth-century literature and contemporary Caribbean fiction, then explores each of his innovative and complex texts. In these diverse narratives Patteson finds reflections on the nature of human consciousness and its relationship to language, culture and storytelling itself, as well as sharp insight into the region and its tormented history. This book confirms Antoni's relevance to the literature of the Caribbean and the world.

Here is Sandra Cisnero's greatly admired and best-selling novel of a young girl growing up in the Latino section of Chicago. Acclaimed by critics, beloved by children and their parents and grandparents, taught everywhere from inner-city grade schools to universities across the country, and translated all over the world, "The House on Mango Street" has entered the canon of coming-of-age classics even as it depicts a new American landscape. Sometimes heartbreaking, sometimes deeply joyous, "The House on Mango Street" tells the story of Esperanza Cordero, whose neighborhood is one of harsh realities and harsh beauty. Esperanza doesn't want to belong - not to her run-down neighborhood, and not to the low expectations the world has for her. Esperanza's story is that of a young girl coming into her power, and inventing for herself what she will become. "The San Francisco Chronicle" has called "The House on Mango Street" "marvelous... spare yet luminous. The subtle power of Cisnero's storytelling is evident. She communicates all the rapture and rage of growing up in a modern world." It is an extraordinary achievement that will live on for years to come.

One of the foremost achievements in Western literature, Homer's Iliad tells the story of the darkest episode of the Trojan War. At its center is Achilles, the greatest warrior-champion of the Greeks, and his conflict with his leader Agamemnon. Interwoven in the tragic sequence of events are powerfully moving descriptions of the ebb and flow of battle, the besieged city of Ilium, the feud between the gods, and the fate of mortals.

A few years after its liberation from the brutality of French colonial rule in 1803, Haiti endured a period of even greater brutality under the reign of King Henri-Christophe, who was born a slave in Grenada but rose to become the first black king in the Western Hemisphere. In prose of often dreamlike coloration and intensity, Alejo Carpentier records the destruction of the black regime--built on the same corruption and contempt for human life that brought down the French while embodying the same hollow grandeur of false elegance, attained only through slave labor--in an orgy of voodoo, race hatred, madness, and erotomania.

This new edition of The Merchant of Venice is part of the established Cambridge School Shakespeare series and has been substantially updated with new and revised activities throughout. Remaining faithful to the series' active approach it treats the play as a script to be acted, explored and enjoyed. As well as the complete script of The Merchant of Venice, you will find a variety of classroom-tested activities, an eight-page colour section and an enlarged selection of notes including information on characters, performance, history and language.