When the first part of "Pelle Erobreren" (Pelle the Conqueror) appeared in 1906, its author, Martin Andersen Nexo, was practically unknown even in his native country, save to a few literary people who knew that he had written some volumes of stories and a book full of sunshiny reminiscences from Spain. And even now, after his great success with "Pelle," very little is known about the writer. He was born in 1869 in one of the poorest quarters of Copenhagen, but spent his boyhood in his beloved island Bornholm, in the Baltic, in or near the town, Nexo, from which his final name is derived...

Miriam Henderson is one of what novelist Dolf Wyllarde (in her great work, The Pathway of the Pioneer) termed "nous autres," i.e., young gentlewomen who must venture forth and earn their living after their fathers have been financially ruined. Also, she has read Villette; she thus applies for and is offered a job teaching conversational English at a girls' school, albeit in Germany rather than France. Pointed Roofs describes her year abroad, as she endeavors to make her way in the hotbed of seething female personalities that populate the school, overseen by her employer, the formidable Fraulein...

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.

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.