This eBook features the unabridged text of ‘The Mucker by Edgar Rice Burroughs - Delphi Classics (Illustrated)’ from the bestselling edition of ‘The Complete Works of Edgar Rice Burroughs’. Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Burroughs includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily. eBook features: * The complete unabridged text of ‘The Mucker by Edgar Rice Burroughs - Delphi Classics (Illustrated)’ * Beautifully illustrated with images related to Burroughs’s works * Individual contents table, allowing easy navigation around the eBook * Excellent formatting of the textPlease visit www.delphiclassics.com to learn more about our wide range of titles
This eBook features the unabridged text of ‘The Return of the Mucker by Edgar Rice Burroughs - Delphi Classics (Illustrated)’ from the bestselling edition of ‘The Complete Works of Edgar Rice Burroughs’. Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Burroughs includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily. eBook features: * The complete unabridged text of ‘The Return of the Mucker by Edgar Rice Burroughs - Delphi Classics (Illustrated)’ * Beautifully illustrated with images related to Burroughs’s works * Individual contents table, allowing easy navigation around the eBook * Excellent formatting of the textPlease visit www.delphiclassics.com to learn more about our wide range of titles
Here is a story that has lain dormant for seven hundred years. At first it was suppressed by one of the Plantagenet kings of England. Later it was forgotten. I happened to dig it up by accident. The accident being the relationship of my wife's cousin to a certain Father Superior in a very ancient monastery in Europe. He let me pry about among a quantity of mildewed and musty manuscripts and I came across this. It is very interesting -- partially since it is a bit of hitherto unrecorded history, but principally from the fact that it records the story of a most remarkable revenge and the adventurous life of its innocent victim -- Richard, the lost prince of England. In the retelling of it I have left out most of the history. What interested me was the unique character about whom the tale revolves -- the visored horseman who -- but let us wait until we get to him. It all happened in the thirteenth century, and while it was happening it shook England from north to south and from east to west; and reached across the channel and shook France...
Based on interviews with some of his closest associates, a portrait of the thirty-fifth president discusses his privileged childhood, military service, struggles with a life-threatening disease, and career in politics.
From New York Times bestselling author Alan Moore-one of the most influential writers in the history of comics-"a wonderful collection, brilliant and often moving" (Neil Gaiman) which takes us to the fantastical underside of reality. In his first-ever short story collection, which spans forty years of work, Alan Moore presents a series of wildly different and equally unforgettable characters who discover--and in some cases even make and unmake--the various uncharted parts of existence. In "A Hypothetical Lizard," two concubines in a brothel of fantastical specialists fall in love with tragic ramifications. In "Not Even Legend," a paranormal study group is infiltrated by one of the otherworldly beings they seek to investigate. In "Illuminations," a nostalgic older man decides to visit a seaside resort from his youth and finds the past all too close at hand. And in the monumental novella "What We Can Know About Thunderman," which charts the surreal and Kafkaesque history of the comics industry's major players over the last seventy-five years, Moore reveals the dark, beating heart of the superhero business. From ghosts and otherworldly creatures to theoretical Boltzmann brains fashioning the universe at the big bang, Illuminations is exactly that--a series of bright, startling tales from a contemporary legend that reveal the full power of imagination and magic.
Example in this ebook Chapter I This book might be called also The Triumph of Love. Bertha was looking out of window, at the bleakness of the day. The sky was sombre and the clouds heavy and low; the neglected carriage-drive was swept by the bitter wind, and the elm-trees that bordered it were bare of leaf, their naked branches shivering with horror of the cold. It was the end of November, and the day was utterly cheerless. The dying year seemed to have cast over all Nature the terror of death; the imagination would not bring to the wearied mind thoughts of the merciful sunshine, thoughts of the Spring coming as a maiden to scatter from her baskets the flowers and the green leaves. Bertha turned round and looked at her aunt, cutting the leaves of a new Spectator. Wondering what books to get down from Mudie’s, Miss Ley read the autumn lists and the laudatory expressions which the adroitness of publishers extracts from unfavourable reviews. “You’re very restless this afternoon, Bertha,” she remarked, in answer to the girl’s steady gaze. “I think I shall walk down to the gate.” “You’ve already visited the gate twice in the last hour. Do you find in it something alarmingly novel?” Bertha did not reply, but turned again to the window: the scene in the last two hours had fixed itself upon her mind with monotonous accuracy. “What are you thinking about, Aunt Polly?” she asked suddenly, turning back to her aunt and catching the eyes fixed upon her. “I was thinking that one must be very penetrative to discover a woman’s emotions from the view of her back hair.” Bertha laughed: “I don’t think I have any emotions to discover. I feel ...” she sought for some way of expressing the sensation—“I feel as if I should like to take my hair down.” Miss Ley made no rejoinder, but looked again at her paper. She hardly wondered what her niece meant, having long ceased to be astonished at Bertha’s ways and doings; indeed, her only surprise was that they never sufficiently corroborated the common opinion that Bertha was an independent young woman from whom anything might be expected. In the three years they had spent together since the death of Bertha’s father the two women had learned to tolerate one another extremely well. Their mutual affection was mild and perfectly respectable, in every way becoming to fastidious persons bound together by ties of convenience and decorum.... Miss Ley, called to the deathbed of her brother in Italy, made Bertha’s acquaintance over the dead man’s grave, and the girl was then too old and of too independent character to accept a stranger’s authority; nor had Miss Ley the smallest desire to exert authority over any one. She was a very indolent woman, who wished nothing more than to leave people alone and be left alone by them. But if it was obviously her duty to take charge of an orphan niece, it was also an advantage that Bertha was eighteen, and, but for the conventions of decent society, could very well take charge of herself. Miss Ley was not unthankful to a merciful Providence on the discovery that her ward had every intention of going her own way, and none whatever of hanging about the skirts of a maiden aunt who was passionately devoted to her liberty. They travelled on the Continent, seeing many churches, pictures, and cities, in the examination of which their chief aim appeared to be to conceal from one another the emotions they felt. Like the Red Indian who will suffer the most horrid tortures without wincing, Miss Ley would have thought it highly disgraceful to display feeling at some touching scene. She used polite cynicism as a cloak for sentimentality, laughing that she might not cry—and her want of originality herein, the old repetition of Grimaldi’s doubleness, made her snigger at herself. She felt that tears were unbecoming and foolish. “Weeping makes a fright even of a good-looking woman,” she said, “but if she is ugly they make her simply repulsive.” To be continue in this ebook
This is a guide to the main developments in the history of British and Irish literature, charting some of the main features of literary language development and highlighting key language topics.
