Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Reproduction of the original: A History of the French Novel, Vol. 1 by George Saintsbury

Encyclopedic in scope and heroically audacious, The Novel: An Alternative History is the first attempt in over a century to tell the complete story of our most popular literary form. Contrary to conventional wisdom, the novel did not originate in 18th-century England, nor even with Don Quixote, but is coeval with civilization itself. After a pugnacious introduction, in which Moore defends innovative, demanding novelists against their conservative critics, the book relaxes into a world tour of the pre-modern novel, beginning in ancient Egypt and ending in 16th-century China, with many exotic ports-of-call: Greek romances; Roman satires; medieval Sanskrit novels narrated by parrots; Byzantine erotic thrillers; 5000-page Arabian adventure novels; Icelandic sagas; delicate Persian novels in verse; Japanese war stories; even Mayan graphic novels. Throughout, Moore celebrates the innovators in fiction, tracing a continuum between these pre-modern experimentalists and their postmodern progeny. Irreverent, iconoclastic, informative, entertaining-The Novel: An Alternative History is a landmark in literary criticism that will encourage readers to rethink the novel.

Bad Books reconstructs how the eighteenth-century French author Nicolas-Edme R tif de la Bretonne and his writings were at the forefront of the development of modern conceptions of sexuality and pornography. Although certain details are well known (for example, that R tif's 1769 treatise on prostitution, Le Pornographe, is the work from which the term pornography is derived, or that he was an avid foot and shoe fetishist), much of this story has been obscured and even forgotten including how the author actively worked to define the category of obscenity and the modern pornographic genre, and how he coined the psycho-sexual term "fetish" and played a central role in the formation of theories of sexual fetishism in the late nineteenth and early twentieth centuries. Thus this book is also about literary history and how it is written: it explores how R tif, perceived as a bad author in both senses of the term, and his contributions were glossed over or condemned, such that the originality of his texts has still not been fully established. Placing R tif's novels and short stories in dialogue with his autobiographical writings as well as with contemporary and modern critical commentaries, the various chapters of the book examine the author's repeated testing of the limits of censorship to define and redefine the boundaries of obscenity; his advancement of the modern form and definition of pornography through a focus on intimacy and (female) pleasure; his detailed narrative explorations of foot and shoe fetishisms that were later appropriated by the sexologists; and his development of theories of eugenics and reproduction in his utopian science fiction. The history of R tif's texts and their reception reveals an evolution in the criteria of what is considered to be "good" or "worthy" literature--a category once defined purely on moral grounds that is increasingly seen in cultural terms. Bad Books corroborates the recent resurgence of interest in the author by showing the import of his texts, which not only designate a number of firsts in the histories of sexuality and pornography, but which also illuminate some of the defining moments in the history of French literary studies.