Madame Bovary, often ranked among the greatest novels of all time, is Flaubert’s first novel, and considered to be both his masterpiece and one of the most influential works in literary history, with authors from Henry James to Proust to Nabokov heaping it with praise. The novel tells the story of Emma Bovary, a commoner wife of a country doctor, and her attempts to escape the drudgery of day-to-day mediocrity by engaging in adulterous affairs and overspending on luxuries. She remains unsatisfied even though her husband adores her and they want for little, and her shallowness eventually leads to their ruin. The story was first serialized in Revue de Paris, where prosecutors tried to have it censored for obscenity, arguing that not only is the story immoral, but that realism as a literary style is an offence against art and decency. The trial only served to increase the story’s fame, and when it was published as a single novel it quickly became a bestseller. The novel is groundbreaking in its emphasis on the psychological and emotional lives of its characters. Literature up to then had mostly focusing on the external events that make characters react, instead of focusing on the internal thought processes of those characters. Madame Bovary changed that forever. It was also revolutionary in its criticism of the middle class, which at the time was a still-new social class vying for elbow room between the working poor and hereditary aristocracy. Flaubert critiqued the middle class as being ambitious, shallow, greedy, materialistic, and totally without culture; Emma’s burning desire to reach even higher social strata, contrasted against that satisfaction being fundamentally denied to her by her middle-class nature, is an early echo of Marx’s theory of alienation in industrial societies. Today Madame Bovary, with its careful but charming description of the banality of everyday life, is considered the first great example of literary realism in fiction novels. Eleanor Marx-Aveling’s translation, though over a hundred years old, is remarkably fresh and smooth, and is a pleasure even for modern readers.

Dmitri Karamazov and his father Fyodor are at war over both Dmitri’s inheritance and the affections of the beautiful Grushenka. Into this feud arrive the middle brother Ivan, recently returned from Moscow, and the youngest sibling Alyosha, who has been released into the wider world from the local monastery by the elder monk Zossima. Through a series of accidents of fate and wilful misunderstandings the Karamazovs edge closer to tragedy, while the local townspeople watch on. The Brothers Karamazov was Fyodor Dostoevsky’s final novel, and was originally serialised in The Russian Messenger before being published as a complete novel in 1880. This edition is the well-received 1912 English translation by Constance Garnett. As well as earning wide-spread critical acclaim, the novel has been widely influential in literary and philosophical circles; Franz Kafka and James Joyce admired the emotions that verge on madness in the Karamazovs, while Sigmund Freud and Jean-Paul Satre found inspiration in the themes of patricide and existentialism.

Esmeralda is a breathtaking beauty and attracts the attention of men all around her, including an actor, a captain, and an archdeacon, to whom she is of course forbidden. But because of a kindness she paid to him, there is one whose love for her is pure: the archdeacon’s bellringer. The actions of the archdeacon, who cannot control his lust for the young woman, ultimately draws all four men into her orbit, and his, with tragic consequences. Hugo’s tragic novel is an ode to gothic architecture in general and that of Notre-Dame de Paris in particular. Hugo was upset both at the neglect of buildings like Notre-Dame, and the modernization of those that weren’t being neglected. By centering on the building, he was able to bring all classes into his story: from kings and nobles to bellringers and sewer rats. The first American translation changed the title to “The Hunchback of Notre Dame,” shifting attention to the bellringer, but Hugo’s focus was always on Notre-Dame and the beautiful gothic architecture of Paris.

White Fang is Jack London’s companion novel to The Call of the Wild. In The Call of the Wild we follow a dog’s journey from domestication to wilderness, but in White Fang we see the opposite: a wild wolf-dog captured by men and eventually domesticated. White Fang’s journey isn’t an easy one; both the wild and civilization have their share of brutal violence. But he eventually seems happy in a home with a loving family. When read side-by-side with The Call of the Wild, White Fang poses an interesting question: is wilderness really an improvement over civilization? Is there one right way to live?

Oliver Twist, or The Parish Boy’s Progress was Charles Dickens’ second novel, following The Pickwick Papers, and was published as a serial in the magazine Bentley’s Miscellany between 1837 and 1839. It details the misadventures of its eponymous character, Oliver Twist, born in a Victorian-era workhouse, his mother dying within minutes of his birth. He is raised in miserable conditions, half-starved, and then sent out as an apprentice to an undertaker. Running away from this situation, he walks to London and falls under the influence of a criminal gang run by an old man called Fagin, who wants to employ the child as a pickpocket. The novel graphically depicts the wretched living conditions of much of the poor people of Victorian times and the disgusting slums in which they were forced to live. It has been accused of perpetrating anti-Semitic stereotypes in the character of Fagin, almost always referred to as “the Jew” in the book’s early chapters. Interestingly, while the serial was still running in the magazine, Dickens was eventually persuaded that he was wrong in this and removed many such usages in later episodes. He also introduced more kindly Jewish characters in such later novels as Our Mutual Friend. Oliver Twist was immediately popular in serial form, with its often gripping story and lurid details. It has remained one of Dickens’ best-loved novels, and the story has often been made into films and television series, as well as into a very popular musical, Oliver!.

Anna Karenina is certainly somewhat unhappy in her life, but presents a strong and vivacious character when called in to smooth over a major crack that’s appeared in her brother’s marriage. Unfortunately, the very visit designed to help her brother introduces her to Count Alexei Vronsky and sets in motion a chain of events that will ripple through families and the unforgiving society of wealthy Moscow and St. Petersburg. Initially serialized over five years in The Russian Messenger, Anna Karenina was first published as a two-volume novel in 1878. It was Leo Tolstoy’s second novel, coming after War and Peace and further cementing his role as the primary Russian author of his age. Tolstoy drew on his aristocratic upbringing to set the scene for the novel, and it’s widely believed that he wrote his own experiences and struggles with religion (documented in A Confession) into the central character of Konstantin Levin. This edition compiles into a single volume the 1901 English translation by Constance Garnett.

Mary’s parents fall ill and die, forcing her to be transplanted from India to the English countryside. She arrives at a strange and foreign country manor, where she discovers a long-neglected garden and hears strange sobbing noises at night. Thus begins The Secret Garden, a children’s book with an unusually dense collection of themes, symbols, and motifs. Mary’s personal development mirrors her unraveling the secret of the hidden garden, and a subtle backdrop of magical realism adds a mysterious air to the proceedings. Contemporary reception left The Secret Garden largely unnoticed, eclipsed by Hodgson’s other work, Little Lord Fauntleroy. Since then, however, the book’s reputation has steadily grown, with modern critics considering it one of the finest children’s books of the 20th century.

Cogewea, a mischievous young rancher, lives with her older sister and brother-in-law on their homestead, the Horseshoe Bend Ranch, located in the Flathead Indian Reservation. A member of the Okanogan tribe, Cogewea is nevertheless stigmatized as a “breed”—a derogatory term historically applied to people of mixed Native American and European descent. Drama arrives at the Horseshoe Bend with the person of Alfred Densmore, a businessman who has set out from the Eastern states in search of adventure and money. After he breaks his arm by being thrown by a half-tame bronco, Densmore develops a romantic interest in Cogewea, sparking a rivalry with Cogewea’s friend Jim, who is the ranch’s foreman and a fellow breed. Cogewea must navigate the interwoven challenges of choosing a suitor and reckoning with her ethnic identity, with the aid of advice in the form of stories told by her grandmother, the Stemteemä. Cogewea was one of the first novels ever published by a Native American woman. It was the product of collaboration between Mourning Dove and her editor, Lucullus Virgil McWhorter, a Euro-American anthropologist and advocate of indigenous American cultures. Critics have debated the extent of McWhorter’s influence on the final product, but Mourning Dove’s own correspondence with McWhorter suggests that McWhorter revised her draft significantly and introduced his own voice into the novel. Cogewea continues to be studied as an early example of Native American literature.

The wealthy Bengali zamindar Nikhil has spent his last nine years of marriage trying to modernize and westernize his wife Bimala. But when he invites his friend Sandip, a fiery pro-Swadeshi activist fighting for Indian independence, to his home, Bimala becomes enraptured by the nationalist cause—and by the fascinating figure himself. The Home and the World is a complex exploration of the contradictions of the anti-British Swadeshi movement in the early 1900s. Rabindranath Tagore was himself active in the early days of the movement, but later became disillusioned, for reasons this novel examines in depth. The novel is also an examination of the traditional organization of wealthy Bengali households, in which women are kept separate from the outside world. The Home and the World was adapted into a 1984 Golden Palm nominated film by Satyajit Ray.

During her brief career as a writer, Nella Larsen published two novels and three short stories. The most famous of her short works, the short story “Sanctuary” and the novella “Passing,” focus on the perspectives of African-American and mixed-race people in the United States, and handle themes of solidarity and prejudice based on both race and class. Though Larsen’s literary reputation rests mainly upon her treatment of these issues, her other stories, “The Wrong Man” and “Freedom,” concern infidelity and marriage. Larsen was born in Chicago to a mother and father who had immigrated to the United States from Denmark and the Danish West Indies respectively. She published her first stories in the 1920s, when she was living with her husband in Harlem and working as a librarian. During these years she became active in the literary community of the Harlem Renaissance, but her career was cut short after some accused her of plagiarizing “Sanctuary.” This alienated publishers despite Larsen’s denying any wrongdoing in print. Her short fiction draws on her experiences of not belonging and of the African-American middle class into which she had married. It is noted for the acuity of its psychological insight, its use of suspense and plot twists, and the simplicity and elegance of its prose. Larsen’s novella “Passing” concerns the possibility of moving between the highly race-conscious social groups of 1920s New York, and explicitly mocks the idea that ancestry is straightforwardly deducible from behavior. The concept of “passing” had already been featured in American fiction for several decades before, but “Passing” presented the issue in a new way, alongside questions of social class and morality. The novella was positively received by critics, including W. E. B. Du Bois, and was instrumental in Larsen’s receiving a Guggenheim Fellowship in 1930. “Sanctuary” is set along a desolate strip of the Southern coast. A desperate man named Jim Hammer seeks refuge at Annie Poole’s isolated cottage. When Jim reveals he’s shot a man—possibly white—Annie reluctantly agrees to hide him, not from kindness but because of her son Obadiah’s inexplicable fondness for this man she considers “no ’count trash.”