Description

Some argue that genre fiction is only a marketing category, but other critics say that different genres meet specific expectations of readers. This course examines these different agreements of what the reader wants and what the writer provides under the aegis of different genres. We will look at how genres are divided into subgenres, and how they are combined into cross-genre work, always keeping in mind the Reader-Writer Contact that is at the heart of genre writing. We shall also think about the ways in which crossing genres has led to the establishment of new genres (steampunk, preternatural romance) and strongly established subgenres (historical mystery, urban fantasy). Some argue that genre fiction is only a marketing category, but other critics say that different genres meet specific expectations of readers. This course examines these different agreements of what the reader wants and what the writer provides under the aegis of different genres. We will look at how genres are divided into subgenres, and how they are combined into cross-genre work, always keeping in mind the Reader-Writer Contact that is at the heart of genre writing. We shall also think about the ways in which crossing genres has led to the establishment of new genres (steampunk, preternatural romance) and strongly established subgenres (historical mystery, urban fantasy).

Subjects

writing | writing | creative writing | creative writing | fiction | fiction | fiction writing | fiction writing | writing fiction | writing fiction | genre fiction | genre fiction | genre | genre | genres | genres | fantasy | fantasy | fantasy writing | fantasy writing | science fiction | science fiction | mystery | mystery | historical fiction | historical fiction | preternatural romance | preternatural romance | horror | horror | steampunk | steampunk | workshop | workshop | revision | revision

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Some argue that genre fiction is only a marketing category, but other critics say that different genres meet specific expectations of readers. This course examines these different agreements of what the reader wants and what the writer provides under the aegis of different genres. We will look at how genres are divided into subgenres, and how they are combined into cross-genre work, always keeping in mind the Reader-Writer Contact that is at the heart of genre writing. We shall also think about the ways in which crossing genres has led to the establishment of new genres (steampunk, preternatural romance) and strongly established subgenres (historical mystery, urban fantasy).

Subjects

writing | creative writing | fiction | fiction writing | writing fiction | genre fiction | genre | genres | fantasy | fantasy writing | science fiction | mystery | historical fiction | preternatural romance | horror | steampunk | workshop | revision

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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This class will focus on the craft of writing genre science fiction. Students write and read science fiction and analyze and discuss stories written for the class. For the first eight weeks, readings in contemporary science fiction accompany lectures and formal writing assignments intended to illuminate various aspects of writing craft as well as the particular problems of writing science fiction. The rest of the term is given to roundtable workshops on student's stories. This class will focus on the craft of writing genre science fiction. Students write and read science fiction and analyze and discuss stories written for the class. For the first eight weeks, readings in contemporary science fiction accompany lectures and formal writing assignments intended to illuminate various aspects of writing craft as well as the particular problems of writing science fiction. The rest of the term is given to roundtable workshops on student's stories.

Subjects

writing | writing | scifi | scifi | sci fi | sci fi | science fiction | science fiction | fantasy | fantasy | fiction | fiction | literature | literature | genre | genre | workshop | workshop | speculative fiction | speculative fiction | subgenre | subgenre | world building | world building | worldbuilding | worldbuilding | protagonist | protagonist | characters | characters | future | future | theme | theme | futurist | futurist | publishing | publishing

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Some argue that genre fiction is only a marketing category, but other critics say that different genres meet specific expectations of readers. This course examines these different agreements of what the reader wants and what the writer provides under the aegis of different genres. We will look at how genres are divided into subgenres, and how they are combined into cross-genre work, always keeping in mind the Reader-Writer Contact that is at the heart of genre writing. We shall also think about the ways in which crossing genres has led to the establishment of new genres (steampunk, preternatural romance) and strongly established subgenres (historical mystery, urban fantasy).

Subjects

writing | creative writing | fiction | fiction writing | writing fiction | genre fiction | genre | genres | fantasy | fantasy writing | science fiction | mystery | historical fiction | preternatural romance | horror | steampunk | workshop | revision

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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What is the history of popular reading in the Western world? How does widespread access to print relate to distinctions between highbrow and lowbrow culture, between good taste and bad judgment, and between men and women readers? This course will introduce students to the broad history of popular reading and to controversies about taste and gender that have characterized its development. Our grounding in historical material will help make sense of our main focus: recent developments in the theory and practice of reading, including fan-fiction, Oprah's book club, comics, hypertext, mass-market romance fiction, mega-chain bookstores, and reader response theory. What is the history of popular reading in the Western world? How does widespread access to print relate to distinctions between highbrow and lowbrow culture, between good taste and bad judgment, and between men and women readers? This course will introduce students to the broad history of popular reading and to controversies about taste and gender that have characterized its development. Our grounding in historical material will help make sense of our main focus: recent developments in the theory and practice of reading, including fan-fiction, Oprah's book club, comics, hypertext, mass-market romance fiction, mega-chain bookstores, and reader response theory.

Subjects

popular reading | popular reading | highbrow culture | highbrow culture | lowbrow culture | lowbrow culture | gender | gender | taste | taste | theory and practice of reading | theory and practice of reading | fanfiction | fanfiction | fandom | fandom | Oprah | Oprah | comics | comics | hypertext | hypertext | mass-market romance fiction | mass-market romance fiction | mega-chain bookstore | mega-chain bookstore | reader response theory | reader response theory | Harry Potter | Harry Potter | sociology and history of reading | sociology and history of reading | resistance | resistance | rare books | rare books | fads | fads | social engineering | social engineering | bestseller | bestseller

License

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Dr. Julian Thompson considers how Wilkie Collins's fiction was pioneering across a variety of genres, including detective fiction and gothic thrillers. He also considers Collins's progressive political outlook, picks out his 'great' work, and indicates how Collins may have influenced Charles Dickens. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

#greatwriters | detective fiction | political | fiction | gothic | dickens | Wilkie Collins | #greatwriters | detective fiction | political | fiction | gothic | dickens | Wilkie Collins

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http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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The reading and writing in this course will focus on the art of self-narrative or autobiographical writing. Such writing can be crafted in the form of a longer autobiography or of separate, shorter autobiographically-inspired essays. The various forms of autobiographical narrative can both reflect on personal experience and comment on larger issues in society.This course explores, through reading and writing, what it means to construct a sense of self-and a life narrative-in relation to the larger social world of family and friends, education, media, work, and community. What does it mean to see ourselves as embodying particular ethical values or belonging to a certain ethnic, racial, national or religious group(s)? How do we imagine ourselves within larger "family narrative(s)" The reading and writing in this course will focus on the art of self-narrative or autobiographical writing. Such writing can be crafted in the form of a longer autobiography or of separate, shorter autobiographically-inspired essays. The various forms of autobiographical narrative can both reflect on personal experience and comment on larger issues in society.This course explores, through reading and writing, what it means to construct a sense of self-and a life narrative-in relation to the larger social world of family and friends, education, media, work, and community. What does it mean to see ourselves as embodying particular ethical values or belonging to a certain ethnic, racial, national or religious group(s)? How do we imagine ourselves within larger "family narrative(s)"

Subjects

writing | writing | autobiography | autobiography | non-fiction | non-fiction | fiction | fiction | essay | essay | experience | experience | memoir | memoir

License

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This is a course focused on the literary genre of the essay, that wide-ranging, elastic, and currently very popular form that attracts not only nonfiction writers but also fiction writers, poets, scientists, physicians, and others to write in the form, and readers of every stripe to read it. Some say we are living in era in which the essay is enjoying a renaissance; certainly essays, both short and long, are at present easier to get published than are short stories or novels, and essays are featured regularly and prominently in the mainstream press (both magazines and newspapers) and on the New York Times bestseller books list. But the essay has a history, too, a long one, which goes back at least to the sixteenth-century French writer Montaigne, generally considered the progenitor of the This is a course focused on the literary genre of the essay, that wide-ranging, elastic, and currently very popular form that attracts not only nonfiction writers but also fiction writers, poets, scientists, physicians, and others to write in the form, and readers of every stripe to read it. Some say we are living in era in which the essay is enjoying a renaissance; certainly essays, both short and long, are at present easier to get published than are short stories or novels, and essays are featured regularly and prominently in the mainstream press (both magazines and newspapers) and on the New York Times bestseller books list. But the essay has a history, too, a long one, which goes back at least to the sixteenth-century French writer Montaigne, generally considered the progenitor of the

Subjects

Writing | Writing | reading | reading | essay | essay | iterary genre | iterary genre | nonfiction writers | nonfiction writers | fiction writers | fiction writers | poets | poets | scientists | scientists | physicians | physicians | Didion | Didion | Bacon | Bacon | White | White | E.B. | E.B. | Walker | Walker | Oates | Oates | Orwell | Orwell | Gould | Gould | Wolfe | Wolfe | Woolf | Woolf | Eiseley | Eiseley | White | E.B. | White | E.B.

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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This subject serves as a broad introduction to the field of European and Latin American fiction. It is taught in an historical manner—beginning with the first picaresque novel, Lazarillo de Tormes, and ending with contemporary European fiction. It is designed to help students acquire a general understanding of major fictional modes-from 18th century epistolary fiction, Liaisons dangereuses, to 20th century avant-garde fiction: Cosmicomicsi and Aura. Attention is paid not only to the literary movements these works represent, but also to the subtle interplay of history, geography, language and cultural norms that gave rise to specific literary forms. While the reading load is heavy, the books are compelling. This subject serves as a broad introduction to the field of European and Latin American fiction. It is taught in an historical manner—beginning with the first picaresque novel, Lazarillo de Tormes, and ending with contemporary European fiction. It is designed to help students acquire a general understanding of major fictional modes-from 18th century epistolary fiction, Liaisons dangereuses, to 20th century avant-garde fiction: Cosmicomicsi and Aura. Attention is paid not only to the literary movements these works represent, but also to the subtle interplay of history, geography, language and cultural norms that gave rise to specific literary forms. While the reading load is heavy, the books are compelling.

Subjects

European and Latin American fiction | European and Latin American fiction | fictional modes | fictional modes | literary forms | literary forms | communication intensive | communication intensive

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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This class will focus on the craft of writing genre science fiction. Students write and read science fiction and analyze and discuss stories written for the class. For the first eight weeks, readings in contemporary science fiction accompany lectures and formal writing assignments intended to illuminate various aspects of writing craft as well as the particular problems of writing science fiction. The rest of the term is given to roundtable workshops on student's stories.

Subjects

writing | scifi | sci fi | science fiction | fantasy | fiction | literature | genre | workshop | speculative fiction | subgenre | world building | worldbuilding | protagonist | characters | future | theme | futurist | publishing

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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This course deals with the vast changes in Spanish social, political, and cultural life that have taken place since the death of Franco. It examines the new freedom from censorship; the re-emergence of strong movements for regional autonomy: the Basque region and Catalonia; the new cinema including Almodóvar and Saura; educational reforms instituted by the socialist government, and the fiction of Carme Riera and Terenci Moix. Special emphasis is placed on the emergence of mass media as a vehicle for expression in Spain. Consideration is given to the changes wrought by Spain's acceptance into the European Community. Materials include magazines, newspapers, films, fiction and Amando de Miguel's Los Españoles. This course is taught in Spanish. This course deals with the vast changes in Spanish social, political, and cultural life that have taken place since the death of Franco. It examines the new freedom from censorship; the re-emergence of strong movements for regional autonomy: the Basque region and Catalonia; the new cinema including Almodóvar and Saura; educational reforms instituted by the socialist government, and the fiction of Carme Riera and Terenci Moix. Special emphasis is placed on the emergence of mass media as a vehicle for expression in Spain. Consideration is given to the changes wrought by Spain's acceptance into the European Community. Materials include magazines, newspapers, films, fiction and Amando de Miguel's Los Españoles. This course is taught in Spanish.

Subjects

Spain | Spain | 1977 | 1977 | present | present | Spanish | Spanish | social | social | political | political | cultural life | cultural life | changes | changes | Franco | Franco | censorship | censorship | regional autonomy | regional autonomy | Basque | Basque | Catalonia | Catalonia | Almod?var | Almod?var | Saura | Saura | educational reforms | educational reforms | socialist | socialist | Carme Riera | Carme Riera | Terenci Moix | Terenci Moix | mass media | mass media | European Community | European Community | magazines | magazines | newspapers | newspapers | films | films | fiction | fiction | Amando de Miguel | Amando de Miguel | Los Espa?oles | Los Espa?oles

License

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Writing About Literature aims: To increase students' pleasure and skill in reading literary texts and in writing and communicating about them. To introduce students to different literary forms (poetry, fiction, drama) and some tools of literary study (close reading, research, theoretical models). To allow students to get to know a single writer deeply. To encourage students to make independent decisions about their reading by exploring and reporting back on authors whose works they enjoy. The syllabus includes an eclectic mix: William Shakespeare, Herman Melville, Henry James, Michael Frayn, and Jhumpa Lahiri. We'll explore different ways of approaching the questions readers have about each of these texts. Writing About Literature aims: To increase students' pleasure and skill in reading literary texts and in writing and communicating about them. To introduce students to different literary forms (poetry, fiction, drama) and some tools of literary study (close reading, research, theoretical models). To allow students to get to know a single writer deeply. To encourage students to make independent decisions about their reading by exploring and reporting back on authors whose works they enjoy. The syllabus includes an eclectic mix: William Shakespeare, Herman Melville, Henry James, Michael Frayn, and Jhumpa Lahiri. We'll explore different ways of approaching the questions readers have about each of these texts.

Subjects

21L.000 | 21L.000 | 21W.734 | 21W.734 | reading | reading | writing | writing | literary criticism | literary criticism | literary texts | literary texts | Dickinson | Dickinson | Shakespeare | Shakespeare | Hughes | Hughes | Chekhov | Chekhov | Joyce | Joyce | Walker | Walker | Melville | Melville | Morrison | Morrison | analytical skills | analytical skills | essays | essays | analysis | analysis | communication | communication | poetry | poetry | fiction | fiction | drama | drama | Lahiri | Lahiri | Frayn | Frayn | textuality | textuality | conceptualization | conceptualization | film | film | media | media

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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This subject traces the history of the European novel by studying texts that have been influential in that history in connection with two interrelated ideas. The first of these ideas underlies much of our modern regard for the novel as a literary form–namely, the idea that if fiction intends to deal with the most important forces animating the collective life of humanity, it will not deal with the actions of persons of immense consequence–kings, princes, high elected officials and the like–but rather with the lives of apparently ordinary people and the everyday details of their social ambitions and desires: to use a phrase of Balzac's,  with "ce qui se passe partout" (what happens everywhere). This idea sometimes goes with another:&#160 This subject traces the history of the European novel by studying texts that have been influential in that history in connection with two interrelated ideas. The first of these ideas underlies much of our modern regard for the novel as a literary form–namely, the idea that if fiction intends to deal with the most important forces animating the collective life of humanity, it will not deal with the actions of persons of immense consequence–kings, princes, high elected officials and the like–but rather with the lives of apparently ordinary people and the everyday details of their social ambitions and desires: to use a phrase of Balzac's,  with "ce qui se passe partout" (what happens everywhere). This idea sometimes goes with another:&#160

Subjects

literature | literature | western | western | europe | europe | novel | novel | history | history | fiction | fiction | cervantes | cervantes | balzac | balzac | stendahl | stendahl | flaubert | flaubert | dostoyevsky | dostoyevsky | tolstoy | tolstoy | realistic tradition | realistic tradition | romantic | romantic | naturalism | naturalism | stendhal | stendhal

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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This course is a workshop for advanced students with some experience in writing essays, nonfiction prose. Our focus will be negotiating and representing identities grounded in gender, race, class, nationality, sexuality, and other categories of identity, either our own or other's, in prose that is expository, exploratory, investigative, persuasive, lyrical, or incantatory. We will read nonfiction prose works by a wide array of writers who have used language to negotiate and represent aspects of identity and the ways the different determinants of identity intersect, compete, and cooperate. This course is a workshop for advanced students with some experience in writing essays, nonfiction prose. Our focus will be negotiating and representing identities grounded in gender, race, class, nationality, sexuality, and other categories of identity, either our own or other's, in prose that is expository, exploratory, investigative, persuasive, lyrical, or incantatory. We will read nonfiction prose works by a wide array of writers who have used language to negotiate and represent aspects of identity and the ways the different determinants of identity intersect, compete, and cooperate.

Subjects

workshop | workshop | advanced students | advanced students | writing | writing | essays | essays | nonfiction | nonfiction | prose | prose | identities | identities | gender | gender | race | race | class | class | nationality | nationality | sexuality | sexuality | identity | identity | expository | expository | exploratory | exploratory | investigative | investigative | persuasive | persuasive | lyrical | lyrical | incantatory | incantatory | determinants of identity | determinants of identity | intersect | intersect | compete | compete | cooperate | cooperate | SP.576 | SP.576

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Introduction to some of the major genres of traditional Chinese poetry, fiction, and drama. Intended to give students a basic understanding of the central features of traditional Chinese literary genres, as well as to introduce students to the classic works of the Chinese literary tradition. Works to be read include: Journey to the West, Outlaws of the Margin, Dream of the Red Chamber, and the poetry of the major Tang dynasty poets. Literature to be read in translation. Conducted in English. Introduction to some of the major genres of traditional Chinese poetry, fiction, and drama. Intended to give students a basic understanding of the central features of traditional Chinese literary genres, as well as to introduce students to the classic works of the Chinese literary tradition. Works to be read include: Journey to the West, Outlaws of the Margin, Dream of the Red Chamber, and the poetry of the major Tang dynasty poets. Literature to be read in translation. Conducted in English.

Subjects

genre | genre | tradition | tradition | Chinese poetry | Chinese poetry | Chinese fiction | Chinese fiction | Chinese drama | Chinese drama | Journey to the West | Journey to the West | Outlaws of the Margin | Outlaws of the Margin | Dream of the Red Chamber | Dream of the Red Chamber | Tang dynasty poets | Tang dynasty poets

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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This course is an introduction to writing prose for a public audience--specifically, prose grounded in, but not confined to, personal narrative. That is, you will write essays that engage elements and aspects of contemporary American popular culture and that do so via a vivid personal voice and presence. In the coming weeks we will read a number of articles that address current issues in popular culture along with essays, pieces of carefully-crafted nonfiction, by writers, scientists, philosophers, poets, historians, literary scholars, and many others. These essays will address a great many subjects from the contemporary world, using personal narrative and memoir to launch and elaborate an argument or position or refined observation. And you yourselves will write a great deal in the variet This course is an introduction to writing prose for a public audience--specifically, prose grounded in, but not confined to, personal narrative. That is, you will write essays that engage elements and aspects of contemporary American popular culture and that do so via a vivid personal voice and presence. In the coming weeks we will read a number of articles that address current issues in popular culture along with essays, pieces of carefully-crafted nonfiction, by writers, scientists, philosophers, poets, historians, literary scholars, and many others. These essays will address a great many subjects from the contemporary world, using personal narrative and memoir to launch and elaborate an argument or position or refined observation. And you yourselves will write a great deal in the variet

Subjects

personal narrative | personal narrative | public audience | public audience | American popular culture | American popular culture | personal voice | personal voice | nonfiction | nonfiction | memoir | memoir | essay | essay

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Historian Stella Tillyard delivers the fourth Weinrebe Lecture in Life-Writing and Portraiture. The talk is introduced by College President Hermione Lee. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

life-writing | #greatwriters | english | fiction | life-writing | #greatwriters | english | fiction

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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The first Weinrebe lecture in life-writing was given by Michèle Roberts, Emeritus Professor of Creative Writing at the University of East Anglia. The lecture is introduced by Professor Hermione Lee. In this lecture, Michèle Roberts offers a stimulating blend of moving personal accounts, and thought-provoking reflections on the theory of life-writing. Michèle Roberts is the author of twelve highly acclaimed novels, including The Looking Glass and Daughters of the House which won the WHSmith Literary Award and was shortlisted for the Booker Prize. Her memoir Paper Houses was BBC Radio 4's Book of the Week in June 2007. She has also published poetry and short stories, most recently collected in Mud- stories of sex and love (2010). Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

life-writing | writing | #greatwriters | biography | fiction | life-writing | writing | #greatwriters | biography | fiction

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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The award-winning author and memoirist Candia McWilliam attests to the edifying power of fiction and biography in the third lecture in the Weinrebe series from the Oxford Centre for Life-Writing. The award-winning author and memoirist Candia McWilliam attests to the edifying power of fiction and biography to help us see the world through the eyes of others, in the third lecture in the Weinrebe series from the Oxford Centre for Life-Writing. McWilliam overcame writer's block following a period of near-blindness brought on by the rare illness blepharospasm to write the Hawthornden Prize-winning memoir What to Look For in Winter. Wolfson College President and OCLW Director Hermione Lee, in her introduction to the lecture, described her voice as "subtle, original and sharp", and her memoir Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

fiction | #greatwriters | writing | life-writing | wolfson | biography | fiction | #greatwriters | writing | life-writing | wolfson | biography | 2012-02-14

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ebook version of Lady Chatterley's lover ebook version of Lady Chatterley's lover

Subjects

kind | kind | English fiction -- 20th century | English fiction -- 20th century | text | text | CC BY-SA | CC BY-SA

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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ebook version of Fajron sentas mi interneI feel fire inside me ebook version of Fajron sentas mi interneI feel fire inside me

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kind | kind | Esperanto fiction -- 20th century | Esperanto fiction -- 20th century | text | text | CC BY-SA | CC BY-SA

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ebook version of The well of Pen-Morfa ebook version of The well of Pen-Morfa

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kind | kind | English fiction -- 19th century | English fiction -- 19th century | text | text | CC BY-SA | CC BY-SA

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ebook version of The Life of Charlotte Brontë ebook version of The Life of Charlotte Brontë

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kind | kind | English fiction -- 19th century | English fiction -- 19th century | text | text | CC BY-SA | CC BY-SA

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ebook version of The history and misfortunes of the famous Moll Flanders, etc. ebook version of The history and misfortunes of the famous Moll Flanders, etc.

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kind | kind | Fiction -- England -- 18th century | Fiction -- England -- 18th century | Picaresque fiction -- England -- 18th century | Picaresque fiction -- England -- 18th century | text | text | CC BY-SA | CC BY-SA

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ebook version of The war of the worlds ebook version of The war of the worlds

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kind | kind | English fiction -- 19th century | English fiction -- 19th century | text | text | CC BY-SA | CC BY-SA

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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