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A masterpiece of early modern prose fiction, Marius & Delia was lost to readers for 300 years. Published without an imprint in the mid-1690s, the title page of Marius & Delia identified the author only by the initials D. M. A handwritten attribution on the only known surviving copy credited the work to Deborah Milton, daughter of poet and polemicist John Milton. Marius & Delia draws together elements from picaresque fiction, Cervantes, Jonson and Restoration comedy to create a unified narrative centered upon a father-daughter relationship, played out against a realistic backdrop of late 17th-century political turmoil-featuring plots and counterplots, peopled by counterfeiters, con artists, alchemists, would-be regicides and "all-cause rogues." --Back cover.

With eighty-eight distinct editions and some 450,000 licensed copies in print, The Ingoldsby Legends of Richard Harris Barham (writing as Thomas Ingoldsby) was among the most beloved and most quoted works of nineteenth-century English literature. Long out of print, it is now available in a fully annotated two-volume edition, complete with over a hundred illustrations by John Tenniel, George Cruikshank, George Du Maurier, John Leech, Arthur Rackham and others. "For inexhaustible fun that never gets flat and scarcely ever simply uproarious, for a facility and felicity in rhyme and rhythm which is almost miraculous, and for a blending of the grotesque and the terrible . no one competent to judge and enjoy will ever go to Barham in vain." - George Saintsbury, A History of Nineteenth Century Literature "In the growth of English short fiction Barham's work looms larger yet. Many a good story and tale are scattered through the corpus of English fiction prior to the 1830s, but it is not, I think, an exaggeration to claim Barham as the first consistent English writer of the true short story." - Wendall V. Harris, British Short Fiction in the Nineteenth Century "Richard Barham was a genuine poet, who exerts a peculiar spell. A man of some property in Kent, a minor canon of St. Paul's Cathedral, an amateur but learned antiquary, he wrote mainly to amuse himself, and his verse has a spontaneity of unexpected rhyming and reckless imagination that makes it different from anybody else's . Barham was gifted with some special genius which makes his meters and rhyming as catching as music, so that they run in your head after reading." - Edmund Wilson, "The Devils and Canon Barham" "Popular phrases, the most prosaic sentences, the cramped technicalities of legal diction, and snatches of various languages are worked in with an apparent absence of all art or effort; not a word seems out of place, not an expression forced, whilst syllables the most intractable find the only partners fitted for them throughout the range of our language. These Legends have often been imitated, but never equalled." - Walter Hamilton, Parodies of the Works of English and American Authors "Barham brought exceptional qualities to the development of his particular art. He was a wit, and his initial success was won by his startling originality. Not only did he adapt the Gallic spirit and conte to the exigencies of the English language: his blending of saints and demons, ghosts and abbots, monkish legend and romance, antiquarian lore and classical knowledge, murder and crime, with his own freakish and whimsical sense of humour, his lightning leaps from grave to gay, his quaint verbal quips, his wealth of topical allusion and most bizarre rhymes - all combined to secure him immediate attention and resultant fame." - Stewart Marsh Ellis, Mainly Victorian

With eighty-eight distinct editions and some 450,000 licensed copies in print, The Ingoldsby Legends of Richard Harris Barham (writing as Thomas Ingoldsby) was among the most beloved and most quoted works of nineteenth-century English literature. Long out of print, it is now available in a fully annotated two-volume edition, complete with over a hundred illustrations by John Tenniel, George Cruikshank, George Du Maurier, John Leech, Arthur Rackham and others. "For inexhaustible fun that never gets flat and scarcely ever simply uproarious, for a facility and felicity in rhyme and rhythm which is almost miraculous, and for a blending of the grotesque and the terrible ... no one competent to judge and enjoy will ever go to Barham in vain." - George Saintsbury, A History of Nineteenth Century Literature "In the growth of English short fiction Barham's work looms larger yet. Many a good story and tale are scattered through the corpus of English fiction prior to the 1830s, but it is not, I think, an exaggeration to claim Barham as the first consistent English writer of the true short story." - Wendall V. Harris, British Short Fiction in the Nineteenth Century "Richard Barham was a genuine poet, who exerts a peculiar spell. A man of some property in Kent, a minor canon of St. Paul's Cathedral, an amateur but learned antiquary, he wrote mainly to amuse himself, and his verse has a spontaneity of unexpected rhyming and reckless imagination that makes it different from anybody else's ... Barham was gifted with some special genius which makes his meters and rhyming as catching as music, so that they run in your head after reading." - Edmund Wilson, "The Devils and Canon Barham" "Popular phrases, the most prosaic sentences, the cramped technicalities of legal diction, and snatches of various languages are worked in with an apparent absence of all art or effort; not a word seems out of place, not an expression forced, whilst syllables the most intractable find the only partners fitted for them throughout the range of our language. These Legends have often been imitated, but never equalled." - Walter Hamilton, Parodies of the Works of English and American Authors "Barham brought exceptional qualities to the development of his particular art. He was a wit, and his initial success was won by his startling originality. Not only did he adapt the Gallic spirit and conte to the exigencies of the English language: his blending of saints and demons, ghosts and abbots, monkish legend and romance, antiquarian lore and classical knowledge, murder and crime, with his own freakish and whimsical sense of humour, his lightning leaps from grave to gay, his quaint verbal quips, his wealth of topical allusion and most bizarre rhymes - all combined to secure him immediate attention and resultant fame." - Stewart Marsh Ellis, Mainly Victorian

Why a history of the novel in ants? It makes perfect sense because ants live in an almost exclusively female society. And as Ian Watt noted in THE RISE OF THE NOVEL, the majority of eighteenth century novels were written by -- as well as read by - women. The prevalence of women as readers and authors of fiction has continued to the present day. Within their all-female society, ants have conflicts, ants have ambitions and disappointments, ants have victories and defeats. Inhabiting an underground fortress of winding, labyrinthine galleries, ants can be gothic or postmodernist as the plot requires. For them the above-ground world of predators and enemies has a painful realism when it is not violently picaresque. Imagine translating Jane Austen into ants: your six-legged heroine will have not one or two but hundreds of gossiping, posturing, romantically and socially ambitious sisters, all striving to get precedence of one another. Or don''t bother imagining it for yourself -- just read A HISTORY OF THE NOVEL IN ANTS. Carol Hart is a freelance science writer with a rusty PhD in English Literature. She reads a great many novels and she never steps on ants. This is her first novel.

In the business and labor worlds of Lancaster, PA, Harry Greene and Pete Werner appear to be at the very top of their games. Greene owns the largest factory in the county. Werner runs the toughest Teamster local. But Greene has been living a nightmare for the past ten years, while Werner often has to force himself to go to work. THE TOOTH FAIRY tells the story of these two men, drawn together by a senseless prank gone awry. A drunken motorcycle ride by a member of Werner's union through the inside of Greene's factory leaves a beloved watchman fighting for his life. At the same time it leaves Greene face to face with his nightmare, and Werner face to face with his own moral dilemma. Jake Hart, the author, was a labor lawyer for twenty-seven years before becoming a federal judge. During his career, he represented major industries from Philadelphia to Pittsburgh, and handled hundreds of labor arbitrations, contract negotiations and union elections. THE TOOTH FAIRY is an accurate portrayal of labor-management relations in every detail.

Sidney L. Blanchard''s Riddles of Love is a delightful Victorian novel of manners that blends romance with sparkling social satire in a deft, witty style that will remind readers of Jane Austen and Charles Lamb. The story follows the fortunes of May Pemberton as she passes from Shuttleton, an ugly little manufacturing town, to a triumphant debut on the London stage. Repelled by the aggressive compliments paid to her by her admirers, May abandons her career to accompany her father to colonial India. Her retirement from theatrical fame, which happens to coincide with a colonial rebellion, is anything but placid. The interlocking love triangles of Blanchard''s story are as multifaceted as the lost diamond necklace that sets the plot in motion.This new edition, the first in 142 years, reprints the original illustrations of Adelaide Claxton and is supplemented with endnotes and an Anglo-Indian glossary.