The House of Dust is a poem written in the four-movement format of a classical symphony. Hauntingly beautiful despite its bleak post-World War I depictions of human mortality and loss, the poem develops its movements around central images such as Japanese ukiyo-e ("floating world") woodblock prints, touching the reader's senses with endlessly evocative allusions to wind, sea, and weather. In this underlying Japanese sensibility and dependence on central perceptual images, Aiken's poem is similar to poetry of Imagists of the time such as Amy Lowell. Also deeply influenced by the concepts of modern psychology, Aiken delved deeply into individual human identity and emotion.

Francis Key Howard recounts in this book his life as a political prisoner of the United States. He points out that he was held captive at the same location where his grandfather was inspired to write the national anthem about the "land of the free," which makes a very stunning contrast. The sufferings that were imposed on him by the Union forces had the effect of solidifying his determination to resist unjust governmental dictates. (Introduction by Katie Riley)

These are the last four Cantos of his mock epic that Byron completed in the year before his death at the age of 36 in Messolonghi, Greece, where he had gone to fight for the nationalists against the Ottoman Empire. Juan, now in England, is invited to spend the autumn with a hunting party at the ancient country seat of Lord Henry and Lady Adeline Amundeville. There, he meets the most intriguing of the Byronic heroines, Aurora Raby, and is visited by a ghost with ample breasts (!). That is the narrative outline but hardly the focus of the last Cantos...

In The Marrow of Tradition, Charles W. Chesnutt--using the 1898 Wilmington, North Carolina massacre as a backdrop--probes and exposes the raw nerves and internal machinery of racism in the post-Reconstruction-era South; explores how miscegenation, caste, gender and the idea of white supremacy informed Jim Crow laws; and unflinchingly revisits the most brutal of terror tactics, mob lynchings. (Introduction by James K. White)

In this, Chesnutt's first novel, he tells the tragic story of love set against a backdrop of racism, miscegenation and “passing” during the period spanning the antebellum and reconstruction eras in American history. And through his use of the vernacular prevalent in the South of that time, Chesnutt lent a compassionate voice to a group that America did not want to hear. More broadly, however, Chesnutt illustrated, in this character play, the vast and perhaps insurmountable debt this country continues to pay for the sins of slavery.

In this novel, Chesnutt described the hopelessness of Reconstruction in a post-Civil War South that was bent on reestablishing the former status quo and rebuilding itself as a region of the United States where new forms of "slavery" would replace the old. This novel illustrated how race hatred and the impotence of a reluctant Federal Government trumped the rule of law, ultimately setting the stage for the rise of institutions such as Jim Crow, lynching, chain gangs and work farms--all established with the intent of disenfranchising African Americans.

Like many soldiers at the beginning of their military careers, Harry Penrose has romantic ideas of climbing the ranks and attaining hero status. However, while stationed at Gallipoli, the realities of war begin to take their toll on Penrose, not only physically, but also mentally where the war has become a 'battle of the mind.' This is his story as related by a fellow soldier, as well as the story of the campaign at Gallipoli which is vividly portrayed from the author's own personal experiences.During his tenure as an officer, Penrose slowly asserts himself; the war takes a toll on his personality, but he begins to live up to his early dreams of heroism...

A review of events prior to, during and following the American Civil War bringing an insightful perspective on Lincoln's true attitude toward slavery and emancipation.

"Brenda was used to getting her own way. Her parents and older sisters spoiled her, her friends followed her lead, servants obeyed her, and she was truly beautiful. That was so, until her cousin Julia (who is everything that she is not) came to live with her family. And that's when our book starts."

Earth Spirit (1895) (Erdgeist) is a play by the German dramatist Frank Wedekind. It forms the first part of his pairing of 'Lulu' plays (the second is Pandora's Box [1904]), both of which depict a society "riven by the demands of lust and greed". Together with Pandora's Box, Wedekind's play formed the basis for the silent film Pandora's Box (1929) starring Louise Brooks and the opera Lulu by Alban Berg in 1935 (premiered posthumously in 1937). The eponymous "earth spirit" of this play is Lulu, who Wedekind described as a woman "created to stir up great disaster...