The novel is set in the early years of the 19th century. Silas Marner, a weaver, is a member of a small Calvinist congregation in Lantern Yard, a slum street in Northern England. He is falsely accused of stealing the congregation's funds while watching over the very ill deacon. Two pieces of evidence implicate Silas: a pocket knife, and the discovery in his own house of the bag formerly containing the money. There is the strong suggestion that Silas' best friend, William Dane, has framed him, since Silas had lent his pocket knife to William shortly before the crime was committed. Lots are drawn in the belief - shared by Silas - that God will direct the process and establish the truth, but they indicate that Silas is guilty. The woman Silas was to marry breaks their engagement and marries William instead. With his life shattered, his trust in God lost, and his heart broken, Silas leaves Lantern Yard and the city for a rural area where he is unknown.
One of the most accomplished and prominent novels of the Victorian era, Middlemarch is an unsurpassed portrait of nineteenth-century English provincial life. Dorothea Brooke is a young woman of fervent ideals who yearns to effect social change yet faces resistance from the society she inhabits. In this epic in a small landscape, Eliot's large cast of precisely delineated characters and the rich tapestry of their stories result in a wise, compassionate, and astute vision of human nature. As Virginia Woolf declared, George Eliot "was one of the first English novelists to discover that men and women think as well as feel, and the discovery was of great artistic moment." Introduction by E. S. Shaffer (Book Jacket Status: Not Jacketed)
Blues singer, preacher, cultural critic, exile, Africadian, high modernist, spoken word artist, Canadian poet—these are but some of the voices of George Elliott Clarke. In a selection of Clarke’s best work from his early poetry to his most recent, Blues and Bliss: The Poetry of George Elliott Clarke offers readers an impressive cross-section of those voices. Jon Paul Fiorentino’s introduction focuses on this polyphony, his influences—Derek Walcott, Amiri Baraka, and the canon of literary English from Shakespeare to Yeats—and his “voice throwing,” and shows how the intersections here produce a “troubling” of language. He sketches Clarke’s primary interest in the negotiation of cultural space through adherence to and revision of tradition and on the finding of a vernacular that begins in exile, especially exile in relation to African-Canadian communities. In the afterword, Clarke, in an interesting re-spin of Fiorentino’s introduction, writes with patented gusto about how his experiences have contributed to multiple sounds and forms in his work. Decrying any grandiose notions of theory, he presents himself as primarily a songwriter.
George Elliot was the penname for the English novelist, poet and journalist, Mary Ann Evans (1819-1880). Although Evans was known for her work as an essayist, editor and critic, she chose to use the male pseudonym to allow for her fictional writing to be appreciated separately and taken seriously. Published in 1859, ‘Adam Bede’ is her first novel, and earned her critical acclaim. It revolves around the romantic lives of four characters in a rural community in the late 18th century. Featuring a new, specially written concise biography, this classic work is being republished in a high quality and affordable edition.
Written between the inception of Middlemarch and the completion, seven years later, of Daniel Deronda this book is a charming treatment of a subject taken from Boccaccio; a poem interesting by virtue of its graceful form. George Eliot was the pseudonym of Marian Evans (1819-1880), and English novelist and poet. As editor of the Westminster Review she formed lasting friendships with Herbert Spencer and other distinguished literary men, among them George Henry Lewes, an enthusiastic disciple of Comte, whose positive philosophy was then attracting the attention of thoughtful Europe.
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