The Road follows an unnamed father and son journeying together across a grim post-apocalyptic landscape, some years after a great, unexplained cataclysm has destroyed civilization and almost all life on Earth. Realizing that they will not survive another winter in their unspecified original location, the father leads the boy south, through a desolate American landscape along a vacant highway, towards the sea, sustained only by the vague hope of finding warmth and more "good guys" like them, and carrying with them only what is on their backs and what will fit into a damaged supermarket cart. The setting is very cold, dark and filled with ash and the land is devoid of living vegetation. There is frequent rain or snow, and electrical storms are common. Many of the remaining human survivors are cannibalistic gangs or nomads, scavenging the detritus of city and country alike for human flesh, though that too is almost entirely depleted. Overwhelmed by this desperate and apparently hopeless situation, the boy's mother, pregnant with him at the time of the cataclysm, commits suicide when the boy is about five or six; the rationality and calmness of her act being her last "great gift" to the man and the boy. The father coughs blood every morning and eventually realizes he is dying, yet still struggles to protect his son from the constant threats of attack, exposure, and starvation. The revolver they carry, meant for protection or suicide if necessary, has only one round for the entire story. The boy has been told to use it on himself if capture is imminent, to spare himself the horror of death at the hands of the cannibals. In the face of these obstacles, the man and the boy have only each other. They repeatedly assure one another that they are "the good guys," who are "carrying the fire." On their journey, the duo scrounge for food, encounter roving bands of cannibals, and contend with horrors such as a newborn infant being roasted on a spit, and people being kept captive as they are slowly harvested for food. The vast majority of the book is written in the third person, with references to "the father" and "the son" or to "the man" and "the boy." Although the man and the boy eventually reach the sea, neither the climate nor availability of food has improved. The man succumbs to an illness and dies, leaving the boy alone, though not long before he dies, the father tells the boy that he can continue to speak with him in his imagination after he is gone. The boy holds wake over his father's corpse for three days, with no idea of what he is to do next. On the third day, the grieving boy encounters a man who has been tracking the father and son. This man, who has a woman and two children of his own, a boy and a girl, invites him to join his family after convincing the boy that he is indeed one of the "good guys" like the boy and his dead father. A brief epilogue following meditates on nature and infinity in this altered environment.

卢梭的这部自传是这个世界上一切自传作品中最有价值的一部，整个自传是在颠沛流离的逃亡生活中断断续续完成的，是一个激进的平民思想家与反动统治激烈冲突的结果，是一个平民知识分子在封建专制压迫面前维护自己不仅是作为一个人、更重要的是作为一个普通人的人权和尊严的作品，是对统治阶级迫害和污蔑的反击。他在书中的确以真诚坦率的态度讲述了他自己的全部生活和思想感情、性格人品的各个方面，充满了平民的自信、自重和骄傲，是一部最活生生的个性解放的宣言书，坦率和真诚达到了令人想象不到的程度，这使它成了文学史上的一部奇书。

这是一部幻想小说名著，刻画的是机械文明下的未来社会。在未来的人类社会中，人的“人”性被机械剥夺殆尽，处于“幸福”状态的人们以几种种姓生于工业化的育婴房，接受种种安于现状的教育，热爱机械化的工作与生活方式。他们拥有安定、无限的“自由”，却丧失了科学、艺术、婚姻、个性、甚至喜怒哀乐。偶有对现状产生怀疑或叛逆心态者，均被视为不安定因素放逐边远地区。

本卷收入五个各具特色、最具有代表性的爱情题材的中篇小说。名篇《初恋》是以第一人称形式叙述的小说。故事的叙述者，也就是当时只有十六岁的男主人公，爱上了新邻居家的美丽而又活泼的姑娘齐娜依达。但是姑娘反复无常，时而热情奔放，时而冷若冰霜，以致主人公非常不安。后来他发现他的父亲也在跟姑娘秘密约会，他们俩秘而不宣地在追求同一位姑娘。最后闹得母亲也知道了，自然，结果是不欢而散。

Book Description Arthur Miller seemed to capture the sometimes tragic plight of the common man with his Death of a Salesman. Bloom suggests the strength of the play is puzzling but beyond dispute, lying more in its presentation on stage than its written form. The play's continued vitality is unquestioned. The title, Arthur Miller’s Death of a Salesman, part of Chelsea House Publishers’ Modern Critical Interpretations series, presents the most important 20th-century criticism on Arthur Miller’s Death of a Salesman through extracts of critical essays by well-known literary critics. This collection of criticism also features a short biography on Arthur Miller, a chronology of the author’s life, and an introductory essay written by Harold Bloom, Sterling Professor of the Humanities, Yale University. Amazon.com Arthur Miller's 1949 Death of a Salesman has sold 11 million copies, and Willy Loman didn't make all those sales on a smile and a shoeshine. This play is the genuine article--it's got the goods on the human condition, all packed into a day in the life of one self-deluded, self-promoting, self-defeating soul. It's a sturdy bridge between kitchen-sink realism and spectral abstraction, the facts of particular hard times and universal themes. As Christopher Bigsby's mildly interesting afterword in this 50th-anniversary edition points out (as does Miller in his memoir, Timebends), Willy is closely based on the playwright's sad, absurd salesman uncle, Manny. But of course Miller made Manny into Everyman, and gave him the name of the crime commissioner Lohmann in Fritz Lang's angst-ridden 1932 Nazi parable, The Testament of Dr. Mabuse. The tragedy of Loman the all-American dreamer and loser works eternally, on the page as on the stage. A lot of plays made history around 1949, but none have stepped out of history into the classic canon as Salesman has. Great as it was, Tennessee Williams's work can't be revived as vividly as this play still is, all over the world. (This edition has edifying pictures of Lee J. Cobb's 1949 and Brian Dennehy's 1999 performances.) It connects Aristotle, The Great Gatsby, On the Waterfront, David Mamet, and the archetypal American movie antihero. It even transcends its author's tragic flaw of pious preachiness (which undoes his snoozy The Crucible, unfortunately his most-produced play). No doubt you've seen Willy Loman's story at least once. It's still worth reading. 　　　　　　　--Tim Appelo From Library Journal This 50th-anniversary edition of Miller's masterpiece, which certainly is a contender for the finest American drama of the 20th century, includes the full text of the play, a chronology of its productions, photos from various stagings including the current Broadway revival, and a new preface by Miller himself, all in a quality hardcover for a reasonable price. Bravo, Penguin. From The Merriam-Webster Encyclopedia of Literature A play in "two acts and a requiem" by Arthur Miller, written in 1948 and produced in 1949. Miller won a Pulitzer Prize for the work, which he described as "the tragedy of a man who gave his life, or sold it" in pursuit of the American Dream. After many years on the road as a traveling salesman, Willy Loman realizes he has been a failure as a father and husband. His sons, Happy and Biff, are not successful--on his terms (being "well-liked") or any others. His career fading, Willy escapes into reminiscences of an idealized past. In the play's climactic scene, Biff prepares to leave home, starts arguing with Willy, confesses that he has spent three months in jail, and mocks his father's belief in "a smile and a shoeshine." Willy, bitter and broken, his illusions shattered, commits suicide. Book Dimension length: (cm)19.7 　　　 　　　　　 　　　　　 width:(cm)12.8

本书打动了成千上万读者，连续两年高居全美畅销书榜首！并获普利策奖。这是一个普通爱尔兰贫民的回忆录，与那些伟人、名人的回忆录形成鲜明的对照和区别。 弗朗克.麦科特出生于大萧条时期一个到美国不久的爱尔兰家庭，后又举家迁回爱尔兰。父亲马拉奇是个不可救药的酒鬼，经常把工资和救济金在小酒馆喝光；母亲安吉拉含辛茹苦，在超出一般人想象的艰难贫困中抚养了六个孩子，其中一对双胞胎和一个女儿先后夭折。弗朗克.麦科特能活下来并以一种轻松幽默的笔调讲述这一切，本身就是一个奇迹……

时值1935年，13岁的布里奥妮·塔利斯拥有十分丰富的想象力，颇有作家天分；管家的锤子罗比在塔利斯先生的奖助下已经与布里奥妮的姐姐塞西莉娅一道从剑桥大学毕业，而且他俩情投意合。一个炎热夏日，塞西莉娅当着罗比的面，脱去衣服，跳进池塘戏水。这一切都被布里奥妮尽收眼底，恰逢当晚，来塔利斯家小住的布里奥妮的表姐遭人强暴；布里奥妮武断地认定罗比即是罪犯，并出庭做证指控罗比，罗比因此被捕入狱。但坚信他无罪的塞西莉娅不惜与家人断绝关系，执着地与他相爱。五年后，罗比出狱，当时正是二次世界大战期间，他参加到保卫祖国的战斗中，塞西莉娅随后应征入伍，布里奥妮也成为一名军队医务人员。经历世事之后的布里奥妮终于愧疚，主动走向罗比与塞西莉娅，为自己当年的所作所为道歉，但是无情的战争先后夺去了罗比和塞西娅的生命，留下布里奥妮活在深深的自责中而无法赎罪。

《荆棘鸟》作者最新力作，荣登《纽约时报》畅销书榜。 《摩根的旅程》讲述了一个国家鲜为人知的历史。理查德·摩根是一个善良、正直的工匠，在遭受失爱妻及子女的一连串厄运后，又遭黑社会报复，被捕判刑，成为首批流放澳大利亚的重罪犯。面对茫茫林海、巍巍群山，他和饱受折磨的犯人们在一片蛮荒之地建设起新的家园…… 《摩根的旅程》是考琳·麦卡洛自其畅销世界的小说《荆棘鸟》出版以来，其叙述的魅力无人与匹敌的力作。书中有那么多栩栩如生的人物……麦卡洛将你带进那个无比艰难的岁月，感染你，鼓舞你，使你快乐并且有所期待。 ——《图莎世界报》 一部壮丽的、引人入胜的诗史。 ——《每日邮报》 一部达到最高境界的小说。 ——《时代周刊》 麦卡洛显然是一位创造艺术品的大师……她笔下的人物呼之欲出，叙述非常成功。 ——《纽约时报》

《亚瑟王之死》是欧洲骑士文学中的一朵奇葩，在西方流传之广仅次于《圣经》和莎士比亚作品。它讲述了著名的不列颠国王亚瑟及其圆桌骑士的故事。字里行间充满了冒险、传奇、各种奇迹和精彩的打斗场面。最令人爱不释手的是骑士与贵妇人之间惊世骇俗的爱情描写。 《亚瑟王之死》影响了后世的很多佳作，并成为好莱坞大片《亚瑟王》的经典蓝本。电影大片后面的种种故事细节、那些转瞬即逝的精彩镜头都能在这部作品中找到源头。 《亚瑟王之死》配有天才画家比亚莱兹的全部原配插图。

王尔德生于都柏林的一个家世卓越的家庭，是家中的次子，全名为：奥斯卡·芬葛·欧佛雷泰·威尔斯·王尔德（Oscar Fingal O’Flahertie Wills Wilde）。他的父亲威廉姆·王尔德爵士是一个外科医生，他的母亲是一位詩人與作家。王尔德是一个优秀的学生，他获得了都柏林圣三一学院（Trinity College）的奖学金，1874年，他进入牛津大学迈格德林学院（Magdalen College）学习。在牛津，王尔德受到了沃尔特·佩特及约翰·拉斯金的审美影响，并接触了新黑格尔派哲学、达尔文进化论和先拉斐尔派的作品，这为他之后成为唯美主义先锋作家确立了方向。当时，虽然年轻的王尔德还没有获得一个文学奖项，但服装惹眼、谈吐机智、特立独行的他在社会上已经小有名气，一些杂志甚至刊登着讽刺他的文章。 1882年，王尔德在美国作了一个精彩的巡回讲座，两年后他與 Constance Lloyd 成婚，兩名兒子 Cyril 與 Vyvyan 亦分別在1885年與1886年出生。1887年王尔德成为一家妇女杂志的執行總编辑，那上面发表着他的一些小说、评论和诗。王尔德的作品以其词藻华美、立意新颖和观点鲜明闻名，他的第一本小说道林·格雷的画像发表于1891年，之后他又发表了散文《社会主义下人的灵魂》，这两部作品都十分成功，但真正为王尔德赢得名誉的是他的戏剧作品。可以说他的每一部戏剧作品都受着热烈的欢迎，有一个时期，伦敦的舞台上竟同时上演着他的三部作品。 维多利亚女王时代的英国上流社会市侩腐朽，新旧风尚的冲突激烈，王尔德的自由作风和大胆的政治作风很快使他成为了这场冲突的牺牲品。1895年，昆斯拜瑞侯爵（Marquess of Queensberry）因儿子阿尔弗瑞德·道格拉斯（Lord Alfred 'Bosie' Douglas）與王爾德交往而令到父子不和，并公然斥责王尔德是一个 "somdomite"。对此，愤怒的阿尔弗瑞德叫王尔德立刻上诉告侯爵败坏他的名誉，可惜王爾德不但上诉失败，更被反告曾“commit acts of gross indecency”。根据当时英国苛刻的刑事法，王尔德被判有罪，在瑞丁和本顿维尔监狱服了两年苦役。这两年，王尔德停止了戏剧创作，而构思了诗作《瑞丁监狱之歌》和忏悔录《深渊书简》，在这两部作品中已很难寻得唯美主义的影响。在王爾德服刑期間，Constance 與兩個孩子改姓為 Holland 兼移居意大利，而他大多数的朋友则对他避之唯恐不及，当中只有寥寥數人如戏剧作家萧伯纳仍挺身维护他。 1897年获释后，王爾德立刻动身前往巴黎，对于英国他失望透顶，不再有丝毫留恋。其後他為了兩名孩子曾嘗試與 Constance 復合，但阿尔弗瑞德亦同時表示想與王爾德重歸如好，最後王爾德放棄兩名孩子而選擇了阿尔弗瑞德。王爾德在以假名居住法国期间完成并出版了《瑞丁监狱之歌》，之后與阿尔弗瑞德同游意大利，但幾個月後，兩人再次分手。1900年王爾德終於在好友 Robert 'Robbie' Ross 幫助下改信天主教，在同年11月30日因病于巴黎的亚尔沙斯旅馆（H?tel d’Alsace）去世，享年46岁，死時只有 Robbie 與另一朋友陪伴。 [编辑]代表作品 Missing image Wildfilm.jpg Wildfilm [编辑]文作 道林·格雷的画像（The Picture of Dorian Gray，1891年） 《社会主义下人的灵魂》（The Soul of Man Under Socialism，1891年） 《深渊书简》（De Profundis，1897年。原本是作者写给道格拉斯的一封长信，1905年作者死后出版） [编辑]童话集 《快乐王子和其他故事》（The Happy Prince and Other Tales，1888年） 《石榴屋》（A House of Pomegranates，1891年） [编辑]诗作 詩(王爾德作品)（Poems，1881年） 《斯芬克斯》（Sphinx，1894年） 《瑞丁监狱之歌》（The Ballad of Reading Gaol，1898年） （王尔德的诗作充满了夸张的隐喻的古代文字和古代俚谣的音律，对于感官、情欲的描写十分隐晦，体现了唯美主义诗歌的特征） [编辑]戏剧剧本 薇拉（Vera，1880年） 《温德密尔夫人的扇子》（Lady Windermere`s Fan，1892年） 《帕都瓦公爵夫人》（The Duchess of Padua，1893年） 莎乐美（Salomé，1893年）（原著用法语写成） 《无足轻重的女人》（A Woman of No Importance，1892年）（1893年Theatre Royal Haymarket首演） 《真诚最要紧》（The Importance of Being Earnest，1895年） 《理想的丈夫》（An Ideal Husband，1895年） [编辑]王尔德作品在中国的传播 建筑师王大闳先生将《道林·格雷的画像》译写为《杜连魁》，场景亦转换为当时的台北。

Lk mos people I lived for a long time with my mother and
~her liked to watch the wrestling， my mother liked
My
father
tow~stle;it didn t matter what. She was n he wh e corner and
that was that.
She hung out the largest sheets on the windiest days. She
~n ed the Mormons to knock on the door. At election time in a
Labour mill town she put a picture of the Conservative
candidate in ~he window.
She had never heard of mixed fedings. There were friends and
th~re were enemms.
Enemies were: The Devil (in his many forms)
Next Door
Sex (in its many forms)
Slugs
Friends were: God
Our dog
Auntie Madgc
The Novels of Charlotte Bront6
Slug pellets
and me， at first. [ had been brought in to join her in a tag match
against the Rest of the World. She had a mysterious attitude
!owards the begetting of children it wasn t that she couldn t do
it+ mo~ that she didn t want to do it She was very bitter about
th， Virgin+ Mary getting there firs So he did the next best thing
anm arranged fo a oundling That was me
We had no Wise Men becau e she didn t believe the e we e any
tcannozrecallatimewhen lddno know hat l was special.
wL+ men， but we had sheep One of my earl est memori
~ ，+ ~ng on . t es is me
!~ Sactfi asheepatEase wh le she told me the oyo he
SLlclaa..，~ Lamb. We had it on Sundays with potato
+hol~d~I d s h day of the
mah g~k; we had a tad g t h h tmposmg
~ura)ly w~dListefaedBt~kt~e kghth indue. ~ut ohn
3

1966年秋，福尔斯偶尔看到一个女子孤零零地站在荒凉的莱姆里季斯码头，眺望着大海。他并没有看见那个女子的面孔，但她带有维多利亚风味。 这个形象是神秘的，又带着浪漫，她站得远远的背对着作者。福尔斯写道： “她变成了一种对维多利亚时代的斥责，她是个被遗弃的人。我想保护她，也就是说我开始爱上了她。”这个女子的形象浮在他的心头，挥之不去。于是，他开始了《法国中尉的女人》的创作。 故事发生在1867年的英国。贵族青年、化石学业余爱好者查尔斯·史密森到小镇莱姆会见已经与他订婚的欧内斯蒂娜·弗里曼小姐。在海边，他遇见了萨拉·伍德拉夫——她被小镇居民蔑称为“法国中尉的女人”。她身上那种浓郁的神秘气质，与所处的时代和环境格格不入的特立独行，都使查尔斯为之倾倒。他热烈追求萨拉，导致他与欧内斯蒂娜的婚约被解除。然而萨拉虽钟情于他，却对他若即若离，最后竟不辞而别……

《世界文学名著典藏•欧也妮·葛朗台(全译本)》为您讲述四大吝啬鬼之一——葛朗台的故事。 1839年巴尔扎克出版的《人间喜剧》有四行献词，题献给玛丽亚并附有其亲笔签名。据考证，这位玛丽亚就是欧也妮·葛朗台的原型。她的真实名字叫玛丽亚·弗雷奈，即弗雷奈太太。作者赋予自身的人物是欧也妮，她代表着巴尔扎克自己，一位来自图尔的感伤的、爱沉思的年轻人，想通过他的笔实现其极度渴望成功的梦想，而如果他没有足够的勇气对其环境抗争的话，那么他就可能被那种郁闷和传统的外省生活所限制。

法国杜拉斯研究会会长倾情之作 杜拉斯和她的儿子让·马斯科罗曾想出版一本家庭影集，后因杜拉斯集中力量写《情人》，计划搁浅。杜拉斯去世后，维尔贡德莱与马斯科罗合作，共同完成了这部影像丰富值得珍藏的传记影集……...