Contains the novels: Almayer's Folly, An Outcast of the Islands and The Rescue With an introduction by Robert Hampson

Across the Barricades is part of Joan Lingard's ground-breaking Kevin and Sadie series, the sequel to The Twelfth Day of July. Both books are part of The Originals from Penguin - iconic, outspoken, first. Kevin and Sadie just want to be together, but it's not that simple. Things are bad in Belfast. Soldiers walk the streets and the city is divided. No Catholic boy and Protestant girl can go out together - not without dangerous consequences . . . The Originals are the pioneers of fiction for young adults. From political awakening, war and unrequited love to addiction, teenage pregnancy and nuclear holocaust, The Originals confront big issues and articulate difficult truths. The collection includes: The Outsiders - S.E. Hinton, I Capture the Castle - Dodie Smith, Postcards from No Man's Land - Aidan Chambers, After the First Death - Robert Cormier, Dear Nobody - Berlie Doherty, The Endless Steppe - Esther Hautzig, Buddy - Nigel Hinton, Across the Barricades - Joan Lingard, The Twelfth Day of July - Joan Lingard, No Turning Back - Beverley Naidoo, Z for Zachariah - Richard C. O'Brien, The Wave - Morton Rhue, The Red Pony - John Steinbeck, The Pearl - John Steinbeck, Stone Cold - Robert Swindells.

Running Away Doesn't Always Remove the Problem “It's only those who do nothing that make no mistakes, I suppose.” - Joseph Conrad, An Outcast of the Islands This second novel of Conrad details the undoing of Peter Willems, a disreputable, immoral man who, on the run from a scandal in Makassar, finds refuge in a hidden native village, only to betray his benefactors over lust for the tribal chief's daughter.

In Joseph Conrad’s tales, representations of women and of "feminine" generic forms like the romance are often present in fugitive ways. Conrad’s use of allegorical feminine imagery, fleet or deferred introductions of female characters, and hybrid generic structures that combine features of "masculine" tales of adventure and intrigue and "feminine" dramas of love or domesticity are among the subjects of this literary study. Many of Conrad’s critics have argued that Conrad’s fictions are aesthetically flawed by the inclusion of women and love plots; thus Thomas Moser has questioned why Conrad did not "cut them out altogether." Yet a thematics of gender suffuses Conrad’s narrative strategies. Even in tales that contain no significant female characters or obvious love plots, Conrad introduces elusive feminine presences, in relationships between men, as well as in men’s relationships to their ship, the sea, a shore breeze, or even in the gendered embrace of death. This book investigates an identifiably feminine "point of view" which is present in fugitive ways throughout Conrad’s canon. Conrad’s narrative strategies are articulated through a language of sexual difference that provides the vocabulary and grammar for tales examining European class, racial, and gender paradigms to provide acute and, at times, equivocal investigations of femininity and difference.

My Antonia is a novel by an American writer Willa Cather. It is the final book of the "prairie trilogy" of novels, preceded by O Pioneers! and The Song of the Lark. The novel tells the stories of an orphaned boy from Virginia, Jim Burden, and Antonia Shimerda, the daughter of Bohemian immigrants. They are both became pioneers and settled in Nebraska in the end of the 19th century. The first year in the very new place leaves strong impressions in both children, affecting them lifelong. The narrator and the main character of the novel My Antonia, Jim grows up in Black Hawk, Nebraska from age 10 Eventually, he becomes a successful lawyer and moves to New York City.

With the pressing work of decolonising our reading lists gaining traction in UK higher educational contexts, Decolonising the Conrad Canon shows how those author-Gods most associated with the colonial literary canon can also be retooled through decolonial, queer, feminist readings. This book finds pockets of powerful anti-colonial resistance and queer dissonance in Joseph Conrad’s lesser-known works – breathing spaces from the colonial rhetoric that dominates his novels – and traces the female characters who voice them off the page and into their transmedia (digital/illustrative/cinematic) afterlives. From Immada and Edith’s queer gaze in The Rescue and the periodical illustrations that accompanied its initial serialization, to Aïssa’s sustained critique of imperialism in An Outcast of the Islands and her portrayal on mass-market paperback book covers, to the structural female bonds of Almayer’s Folly and Nina’s embodiment in Chantal Akerman’s adaptation La Folie Almayer, this book centres Conrad’s female characters as viable, meaning-making citizens of the canon. Through this intervention, Decolonising the Conrad Canon proposes an innovative model for teaching, reading and studying not just Joseph Conrad’s work but the colonial literary canon more broadly.

Sailing towards one of the islands of the Eastern Archipelago where his friend Hassim awaits help to regain his kingdom, Captain Tom Lingard is called to rescue an English yacht stranded on a sandbank. On board is beautiful Mrs. Travers, a woman from a wholly different world, but with a spirited independence that matches Lingard's own. In this story of love and choice, Lingard emerges alongside Willems and Mister Kurtz as one of Conrad's finest creations.