"A Room with a View is a 1908 novel by English writer E. M. Forster, about a young woman in the restrained culture of Edwardian era England. Set in Italy and England, the story is both a romance and a humorous critique of English society at the beginning of the 20th century. Merchant Ivory produced an award-winning film adaptation in 1985.The Modern Library ranked A Room with a View 79th on its list of the 100 best English-language novels of the 20th century (1998)."

A Room with a View – When Lucy Honeychurch embarks on a journey of a lifetime to Italy, little does she know that she would fall for the reckless man George, with whom she and co-traveller had exchanged the room with in Florence. In spite of her self-denial about her growing attraction to George Lucy knows in her heart that she cannot marry another man, let alone Cecil Vyse, who is not only downright obnoxious but also overbearing. This book is a classic romance which has also been adapted into a highly successful movie featuring Helena Bonham Carter, Julian Sands, Maggie Smith and Daniel Day-Lewis. Howards End - The story revolves around three families in England at the beginning of the 20th century: the Wilcoxes, rich capitalists with a fortune made in the colonies; the half-German Schlegel siblings (Margaret, Helen, and Tibby), whose cultural pursuits have much in common with the Bloomsbury Group; and the Basts, an impoverished young couple from a lower-class background. As fate would have it, their lives are going to be intertwined in such a manner that the secret passions and flying tempers would bring each of the family to the verge of ruin. Can they survive this vortex or will they be ruined forever?

Kidnapped as a teenage girl, Ma has been locked inside a purpose built room in her captor's garden for seven years. Her five year old son, Jack, has no concept of the world outside and happily exists inside Room with the help of Ma's games and his vivid imagination where objects like Rug, Lamp and TV are his only friends. But for Ma the time has come to escape and face their biggest challenge to date: the world outside Room.

FINALIST FOR THE CENTER FOR FICTION'S FIRST NOVEL PRIZE "Cain’s small but mighty novel reads like a ghost story and packs the punch of a feminist classic." —The New York Times Book Review A haunted feminist fable, Amina Cain’s Indelicacy is the story of a woman navigating between gender and class roles to empower herself and fulfill her dreams. In "a strangely ageless world somewhere between Emily Dickinson and David Lynch" (Blake Butler), a cleaning woman at a museum of art nurtures aspirations to do more than simply dust the paintings around her. She dreams of having the liberty to explore them in writing, and so must find a way to win herself the time and security to use her mind. She escapes her lot by marrying a rich man, but having gained a husband, a house, high society, and a maid, she finds that her new life of privilege is no less constrained. Not only has she taken up different forms of time-consuming labor—social and erotic—but she is now, however passively, forcing other women to clean up after her. Perhaps another and more drastic solution is necessary? Reminiscent of a lost Victorian classic in miniature, yet taking equal inspiration from such modern authors as Jean Rhys, Octavia Butler, Clarice Lispector, and Jean Genet, Amina Cain's Indelicacy is at once a ghost story without a ghost, a fable without a moral, and a down-to-earth investigation of the barriers faced by women in both life and literature. It is a novel about seeing, class, desire, anxiety, pleasure, friendship, and the battle to find one’s true calling.

"Sexually curious and intellectually adventurous, adolescent Marie begins journaling about her life in Western Michigan's Bible Belt during the rise of the Christian Right. Over the span of many years, her writing becomes a meditation on the ways in which language makes, unmakes, and remakes us. In The Reconception of Marie, Marie's many voices coalesce in a reimagined bildèungsroman, where coming-of-age becomes coming-into-awareness, a spiritual quest navigated with humor, fervency, and the multivalency of queer grace"--

"I am going blind. I am going blind," my mother would proclaim whenever I would call her in the psychiatric hospital, from almost three thousand miles away in Los Angeles. "By tomorrow," my mother would shout into the phone, "I will be blind." For years she had coped on her own until her doctor reduced her Haldol in hopes of decreasing harmful neurological side effects. The results were cataclysmic. This would be one of many relapses after receiving a diagnosis for paranoid schizophrenia in her mid-forties, after a ten-year prolonged psychosis during which my mother worked as criminal public defense counsel on behalf of some of New York and New Jersey's most disadvantaged residents. A Room with a Darker View is an unflinching, feminist work that chronicles the author's troubled relationship with her mother, an Oxford-trained lawyer, whose severe illness -- marked by manic bouts of senseless laughter, persistent delusions, and florid hallucinations -- went unrecognized for decades by both her husband, a world-class British astrophysicist, and her father, a Jewish-Zimbabwean doctor knighted by Pope Paul VI. Told in fragments, flashbacks, and chronicling the most extreme but unfortunately common aspects of schizophrenia, this elegantly written memoir is a reflection on illness, shame, and the generation gaps that have defined mother-daughter relationships amid the evolution of feminism in the 20th century. Like Porochista Khakpour's lauded memoir, Sick (2018), A Room with a Darker View is not a linear tale of redemption or restitution. Rather, it challenges conceptions about mental illness, difficulties caring for an aging parent with a chronic disease, and how we frame contributions by outliers to society, while offering a scathing look at a broken medical system, the unwillingness of an elite educated family to reckon with its secrets, and finally, the universally-understood difficulty of caring for an aging parent with a chronic illness. Unsurprisingly, feminists have been at the forefront of writing illness narratives, from Virginia Woolf to Audre Lord and Susan Sontag. My family's inability to accommodate my mother's illness, the perniciousness of her particular subtype of schizophrenia, paranoia, and the story of women's fight for gender equality in both the workplace and at home are part of this chronicle. In 500-word vignettes A Room with a Darker View retrospectively examines the trauma of undiagnosed mental illness besieging a mother-daughter relationship from toddlerhood through college and into the author's adult life as a writer and lecturer. Of particular note, the author documents her mother's determination in trying to find a place for herself in the male dominated field of law in the 1970s, and her equal determination to recover some semblance of a life after a difficult diagnosis, as she becomes heavily medicated and impoverished by divorce. Only with her mother's final relapse at 73 did the author begin to tell this story, first in Black Clock, an essay for which she received a Pushcart nomination and notable mention in The Best American Essays 2015.