Benedict de Spinoza lived a life of blameless simplicity as a lens-grinder in Holland. And yet in his lifetime he was expelled from the Jewish community in Amsterdam as a heretic, and after his death his works were first banned by the Christian authorities as atheistic, then hailed by humanists as the gospel of Pantheism. His Ethics Demonstrated in Geometrical Order shows us the reality behind this enigmatic figure. First published by his friends after his premature death at the age of forty-four, the Ethics uses the methods of Euclid to describe a single entity, properly called both 'God' and 'Nature', of which mind and matter are two manifestations. From this follow, in ways that are strikingly modern, the identity of mind and body, the necessary causation of events and actions, and the illusory nature of free will.

'To be a moderately successful wielder of the rod may be looked upon as a very desirable accomplishment, nay, more, a laudable ambition; but, beyond mere skill in casting a fly and killing and landing a fish, a little rudimentary knowledge of the truly scientific and, consequently, most attractive part of the art is essential in order to attain proficiency.' 'Rodsters' everywhere will welcome the reappearance of David Forster's classic work on the art and science of fishing, with its wealth of detailed piscatorial knowledge and its exhaustive information and guidance in practical matters, from how to make one's own tackle and flies to how and when to catch which fish where. Writing in 1885, Forster tells us that, while the 'angler's skill has advanced wondrously' since the time of Izaak Walton, 'keenness of perception and wariness have developed among the denizens of the liquid element in a degree quite proportionate'. However, armed with this volume, as readable and relevant today as any contemporary manual, 'let there be clear water, clear weather and clear scope for observation' and any enthusiast may pit his or her 'superior intelligence against the animal instincts of the brute creation'.

On War is perhaps the greatest book ever written about war. Carl von Clausewitz, a Prussian soldier, had witnessed at first hand the immense destructive power of the French Revolutionary armies which swept across Europe between 1792 and 1815. His response was to write a comprehensive text covering every aspect of warfare. On War is both a philosophical and practical work in which Clausewitz defines the essential nature of war, debates the qualities of the great commander, assesses the relative strengths of defensive and offensive warfare, and — in highly controversial passages — considers the relationship between war and politics. His arguments are illustrated with vivid examples drawn from the campaigns of Frederick the Great and Napoleon Bonaparte. For the student of society as well as the military historian, On War remains a compelling and indispensable source.

Samuel Pepys (1633-1703) began his diary on 1 Jan 1660, immediately prior to the Restoration of Charles II to the throne and the subsequent loosening of the rigid and social code enforced during the Puritan Commonwealth. As variously, Clerk to the Council, a Member of Parliament, a prisoner in the Tower of London, twice Secretary to the Admiralty and President of the Royal Society, Pepys was in a unique position to observe and record the details of a ten-year period of English history which included not only the Restoration, but the Great Plague of 1665 and the Fire of London of the following year. However, it was not only for affairs of state which took up the great diarist's interest, for he was a regular attendant at the King's Theatre, was a hearty eater and drinker and delighted in recording his fondness of women, especially his own and his friends' young servant girls.

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«Vampires, those dark children of the night, who rise from their coffins to suck the blood of the living, continue to hold a strange fascination and dread. In this unique collection of vampire stories you will find some of the earliest depictions of these fearful creatures as in John Polidori’s «The Vampyre» and James Malcolm Rymer’s «Varney the Vampyre», a tale which held readers in thrall when it was first published in the mid-nineteenth century. As well as these rare stories and those featuring the more well known bloodsuckers such as Le Fanu’s «Carmilla» and Stoker’s «Dracula», there is a clutch of lesser known but equally frightening tales written by expert practitioners in the art of raising goose pimples. «Children of the Night» is a volume filled with the rich blood of chilling vampire fiction.»

M.R. James is probably the finest ghost-story writer England has ever produced. These tales are not only classics of their genre, but are also superb examples of beautifully-paced understatement, convincing background and chilling terror. As well as the preface, there is a fascinating tail-piece by M.R. James, ‘Stories I Have Tried To Write’, which accompanies these thirty tales. Among them are ‘Casting the Runes’, ‘Oh, Whistle and I’ll come to you, My Lad’, ‘The Tractate Middoth’, ‘The Ash Tree’ and ‘Canon Alberic’s Scrapbook’.

«William Shakespeare (1564-1616) is acknowledged as the greatest dramatist of all time. He excels in plot, poetry and wit, and his talent encompasses the great tragedies of «Hamlet», «King Lear», «Othello», and «Macbeth» as well as the moving history plays and the comedies such as «A Midsummer Night's Dream», «The Taming of the Shrew» and «As You Like It» with their magical combination of humour, ribaldry and tenderness. This volume is a reprint of the Shakespeare Head Press edition, and it presents all the plays in chronological order in which they were written. It also includes Shakespeare's Sonnets, as well as his longer poems «Venus and Adonis» and «The Rape of Lucrece».»

Highly acclaimed for its competitive edge on other editions of its kind, the Wordsworth Concise English Dictionary is an authorative, user friendly and up-to-date lexicon of the world's most widely used language. It reflects the usage not just of the UK and the USA but also of Canada, Australia, New Zealand, South Africa and all those parts of the world where English is the first language. The pefect reference book for everyday use, it provides definitions written in clear, jargon-free language readily accessible to every level of reader, and care has been taken to include coverage of current scientific and technical terminology, as well as literary and colloquial words and phrases. Impressively comprehensive, this dictionary contains 121,000 references and over 156,000 definitions, together with copious and invaluable appendices consisting of conversion tables, mathematical symbols, the Greek alphabet, Roman numerals and an extensive list of abbreviations. No citizen of the world today can afford to be without a dictionary of this quality.

Here together for the first time in one volume are the twenty five spooky stories created by Sir Andrew Caldecott in two collections the 1940s: Not Exactly Ghosts and Fires Burn Blue. Caldecott, who only turned to fiction after retiring from the civil service, allowed his lifelong fascination with the supernatural full reign in these simple yet remarkably disturbing stories. Taking his inspiration from the master of the ghost story, M. R. James, who chilled by implication rather than by gory description, Caldecott created believable but unsettling scenarios which effectively produce a sense of unease in the reader. The mundane becomes horrific; the everyday is unnerving; and the commonplace is frightening. At last these rare forgotten gems are available once more to stir the imagination and chill the blood.

Lafcadio Hearn’s fascinating and unsettling ghost stories are a reinterpretation of oriental legends, and folktales. They are a potent blend of weird beauty and horror. Hearn, who referred to his narratives as ‘stories and studies of strange things’, believed that the spectral world was part of the oriental landscape. Lakes, mountains, ruined castles and terraced fields were the natural locale of ghostly spirits, and their intervention in human affairs was part of the natural order of things. Hearn’s apparitions are not a violent intrusion upon everyday reality; they are already a part of that reality, co-existing with the living. This collection contains the best of the work of this neglected master of the supernatural tale. Prepare to be charmed and chilled in equal measure.

Anton Chekhov’s popularity in the west is without parallel for a foreign writer. He has been absorbed into our culture, and accepted as one of our own. His plays lend themselves easily to the stage, calling for actors with intelligence and common sense rather than a dramatic voice or histrionic skills. He takes from everyday life themes of frustration which apply to us all – the difficulty of carving out a happy existence, the problems of love, the fading of hope, the universal feeling that time passes and we never quite get things right. This seems pessimistic, and yet Chekhov claimed he was writing comedy. Readers, actors and directors must decide for themselves which way to play these pieces. They are full of sadness, but a sadness described as the ‘darkness of the last hour before the dawn’. Whether tragic or comic, however, they are works of the first importance. The Cherry Orchard has been described as ‘the best play since Shakespeare’, Three Sisters as ‘the best play in the world’.

«This novel is an exciting fusion of a Sherlock Holmes mystery with the Ruritanian world of intrigue and skulduggery of Anthony Hope's novel «The Prisoner of Zenda». Colonel Sapt of the Ruritanian Court journeys to England on a secret mission to save the country from anarchy. His mission is to engage the services of Rudolf Rassendyll once more to impersonate the King while the monarch recovers from a serious illness. But Rassendyll has mysteriously disappeared. In desperation, Sapt consults Sherlock Holmes who, with his faithful companion Watson, travels to the Kingdom of Ruritania in an effort to thwart the plans of the scheming Rupert of Hentzau in his bid for the throne. «Sherlock Holmes and the Hentzau Affair» is a wonderful blend of detective story and rousing adventure yarn.»

«The three works in this collection, all dating from Nietzsche's last lucid months, show him at his most stimulating and controversial: the portentous utterances of the prophet (together with the ill-defined figure of the Ubermensch) are forsaken, as wit, exuberance and dazzling insights predominate, forcing the reader to face unpalatable insights and to rethink every commonly accepted 'truth'. Thinking with Nietzsche, in Jaspers' words, means holding one's own against him, and we are indeed refreshed and challenged by the vortex of his thoughts, by concepts which test and probe. In «The Twilight of the Idols», The Antichrist, and Ecce Homo Nietzsche writes at breakneck speed of his provenance, his adversaries and his hopes for mankind; the books are largely epigrammatic and aphoristic, allowing this poet-philosopher to bewilder and fascinate us with their strangeness and their daring. He who fights with monsters, Nietzsche once told us, should look to it that he himself does not become one, and when you gaze long into an abyss the abyss also gazes into you. Reader, beware.»

«Millenia ago, the Old Ones ruled our planet. Since that time, they have but slumbered. But when a massive sea tremor brings the ancient stone city of R'lyeh to the surface once more, the Old Ones awaken at last. «The Whisperer in Darkness» brings together the original Cthulhu Mythos stories of the legendary horror writer H.P. Lovecraft. Included in this volume are several early tales, along with the classics «The Call of Cthulhu», «The Dunwich Horror» and «At the Mountains of Madness». Arm yourself with a copy of Abdul Alhazred's fabled Necronomican and prepare to face terrors beyond the wildest imaginings of all save H.P. Lovecraft.»

«Wilde's works are suffused with his aestheticism, brilliant craftsmanship, legendary wit and, ultimately, his tragic muse. He wrote tender fairy stories for children employing all his grace, artistry and wit, of which the best-known is «The Happy Prince». Counterpoints to this were his novel «The Picture of Dorian Gray», which shocked and outraged many readers of his day, and his stories for adults which exhibited his fascination with the relations between serene art and decadent life. Wilde took London by storm with his plays, particularly his masterpiece «The Importance of Being Earnest». His essays — in particular «De Profundis» — and his «Ballad of Reading Gaol», both written after his release from prison, strikingly break the bounds of his usual expressive range. His other essays and poems are all included in this comprehensive collection of the works of one of the most exciting writers of the late nineteenth century.»

«Joseph Sheridan Le Fanu (1814 – 1873) was one of the great masters of Victorian of mystery and horror fiction, and can be regarded as the father of the modern ghost story. «In a Glass Darkly» (1872), one of his most celebrated volumes, purports to be the casebook of Dr Hesselius, a pioneer psychologist. These five tales represent some of Le Fanu’s most accomplished work, which rises above the staid conventions of the age. Although drawing on Gothic conventions – the book features both ghosts and vampires – Le Fanu redefined the parameters of supernatural fiction. He had little interest in the crude depiction of other worldly phenomena in order to provide the reader with a pleasurable frisson of fear. Le Fanu concern rather lay in the examination of the results of supernatural experience on the psyche of his protagonist, in this he paved the way for the work of Henry James and M. R. James. This volume is an indispensable cornerstone of modern horror and remains one of the finest collections of unsettling fiction in the language.»

«Dorothy Kathleen Broster (1877-1950) is best known for her historical novels. But there is a darker side to her writing, glimpsed in her early poems — 'The Second of September 1792' is a fine example — and finding full expression in the stories she wrote after she had become a highly successful novelist. Sometimes — as in «The Window» or «The Pestering», or «All Soul's Day» — these are what we might call 'explainable' ghost stories: apparitions or hauntings whose origin is to be found in some violent or unjust action in the past. Other stories, «Couching at the Door» and «From the Abyss», have little or no explanation, even in supernatural terms. Add to these an elegant reworking of the «Persephone» myth, «The Taste of Pomegranates», the downright bloodthirsty «Clairvoyance», and the psychological studies, «The Promised Land» and «The Pavement» which so well merit the heading «Madness and Obsession», and you have a collection to disturb and unsettle the strongest nerves.»

«'I saw him take a different shape before my eyes. His loose draperies fell about him...and there issued out of them a monstrous creature of the beetle tribe...' From out of the dark and mystic Egypt come The Beetle, a creature of horror, 'born of neither God nor man', which can change its form at will. It is bent on revenge for a crime committed against the devotees of an ancient religion. At large in London, it pursues its victims without mercy and no one, it seems, is safe from its gruesome clutches. Richard Marsh's weird, compelling and highly original novel, which once outsold «Dracula», is both a horror masterpiece and a fin de siecle melodrama embracing the fears and concerns of late Victorian society. Long out of print, The Beetle is now available in this Wordsworth edition, ready to chill you to the marrow and give you nightmares.»

«Germinal» (1885) is the thirteenth in Émile Zola’s cycle of twenty novels about the Rougon-Macquart dynasty. It tells the story of Étienne Lantier, from the illegitimate Macquart branch of the family, who arrives in the mining settlement of Montsou, and witnesses at first hand the appalling conditions in which miners live and work. Gradually becoming embroiled in a bitter dispute between the miners and their employers, he eventually leads the strike which is the centrepiece of the novel. But this is more than the struggle of labour against capital. It is also the struggle of the hungry against the well-fed, against the passivity and resignation passed down over generations of starving people, and ultimately against hunger itself, represented by the fantastical devouring monster of the mine, which swallows up men, just as the beast of the modern industrial economy relentlessly swallows up capital. This apparent pessimism about society is offset by the possibility of rebirth and regeneration. For all the inherited misery of the downtrodden, the old order may some day be overturned.»