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Books : Literature & Fiction : Authors, A-Z : ( O )
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Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - Mr. Jones, of the Manor Farm, had locked the henhouses for the night, but was too drunk to remember to shut the pop-holes. With the ring of light from his lantern dancing from side to side, he lurched across the yard, kicked off his boots at the back door, drew himself a last glass of beer from the barrel in the scullery, and made his way up to bed, where Mrs. Jones was already snoring. As soon as the light in the bedroom went out there was a stirring and a fluttering all through the farm buildings. Word had gone round during the day that old Major, the prize Middle White boar, had had a strange dream on the previous night and wished to communicate it to the other animals. It had been agreed that they should all meet in the big barn as soon as Mr. Jones was safely out of the way. Old Major (so he was always called, though the name under which he had been exhibited was Willingdon Beauty) was so highly regarded on the farm that everyone was quite ready to lose an hour's sleep in order to hear what he had to say.
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Thought Police. Big Brother. Orwellian. These words have entered our vocabulary because of George Orwell's classic dystopian novel, 1984. The story of one man's nightmare odyssey as he pursues a forbidden love affair through a world ruled by warring states and a power structure that controls not only information but also individual thought and memory, 1984 is a prophetic, haunting tale.
More relevant than ever before, 1984 exposes the worst crimes imaginable-the destruction of truth, freedom, and individuality.
With a new forward by Thomas Pynchon.
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ANIMAL FARM
George Orwell's classic satire of the Russian Revolution is an intimate part of our contemporary culture. It is the account of the bold struggle, initiated by the animals, that transforms Mr. Jones's Manor Farm into Animal Farm--a wholly democratic society built on the credo that All Animals Are Created Equal. Out of their cleverness, the pigs Napoleon, Squealer, and Snowball emerge as leaders of the new community in a subtle evolution that proves disastrous. The climax is the brutal betrayal of the faithful horse Boxer, when totalitarian rule is reestablished with the bloodstained postscript to the founding slogan: But some Animals Are More Equal Than Others. . . .
1984
In 1984, London is a grim city where Big Brother is always watching you and the Thought Police can practically read your mind. Winston is a man in grave danger for the simple reason that his memory still functions. Drawn into a forbidden love affair, Winston finds the courage to join a secret revolutionary organization called The Brotherhood, dedicated to the destruction of the Party. Together with his beloved Julia, he hazards his life in a deadly match against the powers that be.
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Two of Conrad’s BEST-KNOWN works—in a single volume
In this pair of literary voyages into the inner self, Joseph Conrad has written two of the most chilling, disturbing, and noteworthy pieces of fiction of the twentieth century.
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Fleeing Nazi Germany in 1936, the Schwarts immigrate to a small town in upstate New York. Here the father—a former high school teacher—is demeaned by the only job he can get: gravedigger and cemetery caretaker. When local prejudice and the family's own emotional frailty give rise to an unthinkable tragedy, the gravedigger's daughter, Rebecca heads out into America. Embarking upon an extraordinary odyssey of erotic risk and ingenious self-invention, she seeks renewal, redemption, and peace—on the road to a bittersweet and distinctly American triumph.
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Now in paperback: the national bestseller from the Pulitzer Prize–winning poet
"To read Thirst, Mary Oliver's most recent book of poems, is to feel gratitude for the simple fact of being alive." —Angela O'Donnell, America Magazine
Thirst, a collection of forty-three new poems from Pulitzer Prize–winner Mary Oliver, introduces two new directions in the poet's work. Grappling with grief at the death of her beloved partner of over forty years, she strives to experience sorrow as a path to spiritual progress, grief as part of loving and not its end. And within these pages she chronicles for the first time her discovery of faith, without abandoning the love of the physical world that has been a hallmark of her work for four decades.
"Mary Oliver moves by instinct, faith, and determination. She is among our finest poets, and still growing."
—Alicia Ostriker, The Nation
"It has always seemed, across her [many] books of poetry, . . . that Mary Oliver might leave us at any minute. Even a 1984 Pulitzer Prize couldn't pin her to the ground. She'd change quietly into a heron or a bear and fly or walk on forever."
—Susan Salter Reynolds, Los Angeles Times
"'My work is loving the world,' Oliver tells us….She has always done that work…in poems of considerable beauty. Now she rises, not above the world, but through it."
—Jay Parini, The Guardian, 10/6/2007
"Mary Oliver is, to my mind, one of the most gifted American poets working in English today. In her hands, the language acquires a lucidity approaching translucence; the accuracy of her vision and the precision of her voice are unique in their refreshing simplicity. Perhaps most singular is the tendency of her poems to be at once powerful and appealing; an affection for the natural world and a sympathy toward the reader abide."
—Katherine Hollander, Pleiades, Fall 2007
"To read Thirst is to feel gratitude for the simple fact of being alive. This is not surprising, as it is the effect [Oliver's] best work has produced in readers for the past 43 years."
—Angela O'Donnell, America magazine
"'My work is loving the world.' That first line of 'Messenger,' the first poem in Mary Oliver's new collection Thirst (Beacon Press), names what she does better than any other poet writing today. Just as Joan Didion's memoir The Year of Magical Thinking, which had a similar 'occasion,' was arguably her best work ever, so is Thirst Oliver's."
—Tim Pfaff, Bay Area Reporter, 1/11/07
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"Red bird came all winter / firing up the landscape / as nothing else could." So begins Mary Oliver's twelfth book of poetry, and the image of that fiery bird stays with the reader, appearing in unexpected forms and guises until, in a postscript, he explains himself: "For truly the body needs / a song, a spirit, a soul. And no less, to make this work, / the soul has need of a body, / and I am both of the earth and I am of the inexplicable / beauty of heaven / where I fly so easily, so welcome, yes, / and this is why I have been sent, to teach this to your heart."
This collection of sixty-one new poems, the most ever in a single volume of Oliver's work, includes an entirely new direction in the poet's work: a cycle of eleven linked love poems—a dazzling achievement. As in all of Mary Oliver's work, the pages overflow with her keen observation of the natural world and her gratitude for its gifts, for the many people she has loved in her seventy years, as well as for her disobedient dog, Percy. But here, too, the poet's attention turns with ferocity to the degradation of the Earth and the denigration of the peoples of the world by those who love power. Red Bird is unquestionably Mary Oliver's most wide-ranging volume to date.
"Mary Oliver has done it again. She has assembled a collection of poems that is moving, intense and evocative in its engagement of the natural world. Yet this latest book by the Pulitzer Prize– and National Book Award–winner is distinctive among her 17 volumes for the dark undercurrent that runs through the poems . . . the hard lesson that this earth is fallen and fragile, now more than ever, and unless we learn to cherish the world, we will destroy it . . . The song Mary Oliver sings in Red Bird is the song she has always sung, but now more urgent, more needful, more true."
—Angela O'Donnell, America magazine, April 28, 2008
"Last April, Book Sense's poetry bestseller list included two titles by Billy Collins. This year the Top 5 can be summed up in six words: Mary Oliver, Mary Oliver, Mary Oliver. Oliver's impressive feat reflects both an enduring popularity and an unparalleled ability to touch readers on a deep, almost primal level."
—Elizabeth Lund, The Christian Science Monitor, April 15, 2008
"Mary Oliver celebrates the creatures she observes on Cape Cod in "Red Bird" (Beacon), her 17th book of poetry. A longtime resident of Provincetown, Oliver, at 72, is among the nation's most popular poets . . . Oliver's grief ripples through the book, as does an unwavering sense of gratitude for the moment, the memories, and her trusty dog, Percy."
—Jan Gardner, Boston Globe, April 13, 2008
"Mary Oliver is 70 years old and still 'in love with life' and 'still full of beans' as she notes in 'Self-Portrait.' She savors the ocean, visits a graveyard, salutes a red bird in winter, heeds the invitation of a group of goldfinches to attend their performance, and finds lessons in teachings of an owl and a mockingbird. We depend on this poet for her hallowings in the animal kingdoms. We look to her for a reverence that lifts up and celebrates the little things in nature."
—Frederic and Mary Ann Brussat, Spirituality & Practice, April 9, 2008
"In Red Bird, Oliver maintains the lyrical connection to the natural world that has made her work so popular. But in the new book she speaks even more loudly than usual against mankind's growing list of abuses of the planet, while celebrating such seemingly ordinary creatures as crows."
—Poets & Writers, March/April 2008
"One of few avidly read living poets, Oliver revels in the beauty of the living world, and takes to heart its lessons in patience and pleasure, cessation and renewal. As piercingly observant as ever in this substantial and forthright collection, Oliver is rhapsodic."
—Donna Seaman, Booklist, March 1, 2008
"Mary Oliver, who won the Pultizer Prize in poetry, is my choice for her joyous, accessible, intimate observations of the natural world . . . She teaches us the profound act of paying attention—a living wonder that makes it possible to appreciate all the others."
—Renee Loth, Boston Globe
"It has always seemed . . . that Mary Oliver might leave us any minute. Even a 1984 Pulitzer Prize couldn't pin her to the ground. She'd change quietly into a heron or a bear and fly or walk off forever."
—Susan Salter Reynolds, Los Angeles Times
"'My work is loving the world,' Oliver tells us . . . She has always done that work . . . in poems of considerable beauty. Now she rises, not above the world, but through it."
—Jay Parini, The Guardian
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Originally published in 1854, Walden, or Life in the Woods, is a vivid account of the time that Henry D. Thoreau lived alone in a secluded cabin at Walden Pond. It is one of the most influential and compelling books in American literature.This new paperback edition--introduced by noted American writer John Updike--celebrates the 150th anniversary of this classic work. Much of Walden's material is derived from Thoreau's journals and contains such engaging pieces as "Reading" and "The Pond in the Winter." Other famous sections involve Thoreau's visits with a Canadian woodcutter and with an Irish family, a trip to Concord, and a description of his bean field. This is the complete and authoritative text of Walden--as close to Thoreau's original intention as all available evidence allows.
For the student and for the general reader, this is the ideal presentation of Thoreau's great document of social criticism and dissent.
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Winner of the National Book AwardThe publication of this extraordinary volume firmly established Flannery O'Connor's monumental contribution to American fiction. There are thirty-one stories here in all, including twelve that do not appear in the only two story collections O'Connor put together in her short lifetime--Everything That Rises Must Converge and A Good Man Is Hard to Find. O'Connor published her first story, "The Geranium," in 1946, while she was working on her master's degree at the University of Iowa. Arranged chronologically, this collection shows that her last story, "Judgement Day"--sent to her publisher shortly before her death—is a brilliantly rewritten and transfigured version of "The Geranium." Taken together, these stories reveal a lively, penetrating talent that has given us some of the most powerful and disturbing fiction of the twentieth century. Also included is an introduction by O'Connor's longtime editor and friend, Robert Giroux.
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Sharon Olds completes her cycle of family poems in a book at once intense and harmonic, playful with language, and rich with a new self-awareness and sense of irony.
The opening poem, with its sequence of fearsome images of war, serves as a prelude to poems of home in which humor, anger, and compassion sing together with lyric energy—sometimes comic, sometimes filled with a kind of unblinking forgiveness. These songs of joy and danger—public and private—illuminate one another. As the book unfolds, the portrait of the mother goes through a moving revisioning, leading us to a final series of elegies of hard-won mourning. One Secret Thing is charged throughout with Sharon Olds’s characteristic passion, imagination, and poetic power.
The doctor on the phone was young, maybe on his
first rotation in the emergency room.
On the ancient boarding-school radio,
in the attic hall, the announcer had given my
boyfriend’s name as one of two
brought to the hospital after the sunrise
service, the egg-hunt, the crash—one of them
critical, one of them dead. I was looking at the
stairwell banisters, at their lathing,
the necks and knobs like joints and bones,
the varnish here thicker here thinner—I had said
Which one of them died, and now the world was
an ant’s world: the huge crumb of each
second thrown, somehow, up onto
my back, and the young, tired voice
said my fresh love’s name.
from “Easter 1960”
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Orphaned into cold charity at the hands of her rich cousins and, later, at Lowood Asylum, Jane escapes to take up a position as governess to the young ward of Mr. Rochester. Their love affair, Jane's discovery of Rochester's secret-hideously concealed in the attic of Thornfield Hall-and her desperate flight, are told in a drama of passionate intensity whose pace never slackens. Jane Eyre is a love story with a happy ending, rare in its time for its sympathetic portrayal of the love of a married man for another woman. It is, as Thackeray said, 'The masterwork of a great genius'.
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