Dr. Henry Jekyll, fascinated by the dichotomy of good and evil, no longer wants to inhibit his dark side. He concocts a potion to create the alter ego of Mr. Edward Hyde. With the burden of evil placed on Hyde, Jekyll can now take pleasure in his immoral, nefarious fantasies - free of conscience and guilt. It’s when Hyde turns to murder that Jekyll realizes how monstrous his impulses are and how hard they are to suppress. Exploring the nature of shame, repression, desire, and control, Stevenson’s story has so endured that “a Jekyll and Hyde personality” has become part of our lexicon in understanding our own - sometimes involuntary - duality. AmazonClassics brings you timeless works from the masters of storytelling. Ideal for anyone who wants to read a great work for the first time or rediscover an old favorite, these new editions open the door to literature’s most unforgettable characters and beloved worlds.

A primer on intersectional environmentalism aimed at educating the next generation of activists on how to create meaningful, inclusive, and sustainable change.  The Intersectional Environmentalist is an introduction to the intersection between environmentalism, racism, and privilege, and an acknowledgment of the fundamental truth that we cannot save the planet without uplifting the voices of its people -- especially those most often unheard. Written by Leah Thomas, a prominent voice in the field and the activist who coined the term "Intersectional Environmentalism," this book is simultaneously a call to action, a guide to instigating change for all, and a pledge to work towards the empowerment of all people and the betterment of the planet. In The Intersectional Environmentalist, Thomas shows how not only are Black, Indigenous and people of color unequally and unfairly impacted by environmental injustices, but she argues that the fight for the planet lies in tandem to the fight for civil rights; and in fact, that one cannot exist without the other. An essential read, this book addresses the most pressing issues that the people and our planet face, examines and dismantles privilege, and looks to the future as the voice of a movement that will define a generation.  

Sing to me of the man, Muse, the man of twists and turns driven time and again off course, once he had plundered the hallowed heights of Troy. So begins Robert Fagles' magnificent translation of the Odyssey. If the Iliad is the world's greatest war epic, then the Odyssey is literature's grandest evocation of everyman's journey though life. Odysseus' reliance on his wit and wiliness for survival in his encounters with divine and natural forces, during his ten-year voyage home to Ithaca after the Trojan War, is at once a timeless human story and an individual test of moral endurance. In the myths and legends that are retold here, Fagles has captured the energy and poetry of Homer's original in a bold, contemporary idiom, and given us an Odyssey to read aloud, to savor, and to treasure for its sheer lyrical mastery. Renowned classicist Bernard Knox's superb Introduction and textual commentary provide new insights and background information for the general reader and scholar alike, intensifying the strength of Fagles' translation. This is an Odyssey to delight both the classicist and the public at large, and to captivate a new generation of Homer's students. -- Robert Fagles, winner of the PEN/Ralph Manheim Medal for Translation and a 1996 Academy Award in Literature from the American Academy of Arts and Letters, presents us with Homer's best-loved and most accessible poem in a stunning new modern-verse translation.

Award-winning Nishnaabeg storyteller and writer Leanne Betasamosake Simpson returns with a bold reimagination of the novel, one that combines narrative and poetic fragments through a careful and fierce reclamation of Anishinaabe aesthetics. Mashkawaji (they/them) lies frozen in the ice, remembering a long-ago time of hopeless connection and now finding freedom and solace in isolated suspension. They introduce us to the seven main characters: Akiwenzii, the old man who represents the narrator’s will; Ninaatig, the maple tree who represents their lungs; Mindimooyenh, the old woman who represents their conscience; Sabe, the giant who represents their marrow; Adik, the caribou who represents their nervous system; Asin, the human who represents their eyes and ears; and Lucy, the human who represents their brain. Each attempts to commune with the unnatural urban-settler world, a world of SpongeBob Band-Aids, Ziploc baggies, Fjällräven Kånken backpacks, and coffee mugs emblazoned with institutional logos. And each searches out the natural world, only to discover those pockets that still exist are owned, contained, counted, and consumed. Cut off from nature, the characters are cut off from their natural selves. Noopiming is Anishinaabemowin for “in the bush,” and the title is a response to English Canadian settler and author Susanna Moodie’s 1852 memoir Roughing It in the Bush. To read Simpson’s work is an act of decolonization, degentrification, and willful resistance to the perpetuation and dissemination of centuries-old colonial myth-making. It is a lived experience. It is a breaking open of the self to a world alive with people, animals, ancestors, and spirits, who are all busy with the daily labours of healing — healing not only themselves, but their individual pieces of the network, of the web that connects them all together. Enter and be changed.

When the scientist Victor Frankenstein attempts to create life in his laboratory, he sets in motion tragic forces beyond his control and faces losing everything he loves. No reader in the grip of Mary Shelley’s novel, with its mythic-minded hero and its highly sympathetic monster who reads Goethe and longs to be at peace with himself, can fail to notice how much more excellent the original is than all the countless adaptations, imitations, and homages which have followed in its ample wake. In her first novel, written at the instigation of Lord Byron and published in 1818 (and revised in 1831), the teenaged Shelley managed to produce English Romanticism’s finest prose fiction. This edition reproduces her original 1818 text.

Fledgling English lawyer Jonathan Harker treks into the Carpathian Mountains to complete a real estate transaction—despite the frightening warnings of the horrible dangers that await him. Harker’s client is the ancient Count Dracula, who lives in a sumptuously furnished castle—one strangely devoid of mirrors. Harker soon realizes that the Count’s interest in London is more than idle curiosity, and is woefully unprepared for the Count’s obsession with Harker’s fiancée, Mina . . .

The Great Gatsby, F. Scott Fitzgerald's third book, stands as the supreme achievement of his career. This exemplary novel of the Jazz Age has been acclaimed by generations of readers. The story of the fabulously wealthy Jay Gatsby and his love for the beautiful Daisy Buchanan, of lavish parties on Long Island at a time when The New York Times noted "gin was the national drink and sex the national obsession," it is an exquisitely crafted tale of America in the 1920s. The Great Gatsby is one of the great classics of twentieth-century literature.