An African Millionaire (Penguin Classics) by Grant Allen

By Grant Allen

An very good addition to Penguin's crime classics: the tantalizing story of Colonel Clay, literature's first gentleman rogue.

Wealthy, convinced and good-looking, Sir Charles Van float spends his time jetting to unique locales together with his spouse and in-laws. yet on one fateful journey to the Riviera, Van go with the flow meets his fit in Colonel Clay. Posing alternately as a seer, a curate, and a German professor, the grasp of cover swindles Van glide via 3 continents and poses a significant chance to his South African diamond fortune. Colonel Clay, the infamous con artist and thief, has triumphed. yet who's this grasp of conceal, really? First serialized in The Strand in 1896, the adventures that comprise An African Millionaire are extensively considered as the 1st to add a legal protagonist and should be greeted enthusiastically by means of enthusiasts and students of vintage crime fiction.

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Moreover, Irving's The Sketch Book had important sources in the essays of Addison and Steele; Bryant's poetry had important sources in Wordsworth; and Cooper's novels had important sources in Scott. Cooper objected to being INTRODUCTION 7 termed the "American Scott," but the label would ultimately have been viewed as testimony to his novelistic mastery. For the most part, American writers of this time had a sophisticated understanding of their relationship to British and other literary traditions and would have regarded as nonsense the idea that they were expected to create a completely separate American literature.

Nevertheless, it is important to underscore that the era has a real existence of its own in literary terms: the authors in this anthology often were in conversation with one another; their world was relatively small and the number of instances of direct and indirect influences, counterinfluences, productive friendships, productive rejections of influences and friendships, and so on, are stunning. Sedgwick read Cooper's Last of the Mohica1JS and wrote a "response" in Hope Leslie, emphasizing the domestic and cross-racial possibilities in ways she thought Cooper did not.

Just about all of the women writers represented in this anthology made an important mark in the periodical culture of the time, and some used their connections to magazines and newspapers to develop as professional authors who were able to live on earnings from their writings. Child, Fuller, Fern, and Rebecca Harding Davis all had newspaper columns, and Fern was paid lavishly for hers. Kirkland edited the New York Union and wrote for other magazines; Child and Fuller also served as editors of journals; Stowe and Louisa May Alcott got their starts writing sketches and short stories for regional newspapers.

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