Books with author Fanny van de Grift STEVENSON

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. This text refers to the Bibliobazaar edition.

*This book is Annotated (It contains a biography of the Author).* More New Arabian Nights: The Dynamiter (1885) is a collection of linked short stories by Robert Louis Stevenson and Fanny Vandegrift. Contents: "Prologue of the Cigar Divan""Challoner's adventure: The Squire of Dames""Story of the Destroying Angel""The Squire of Dames (Concluded)""Somerset's adventure: The Superfluous Mansion""Narrative of the Spirited Old Lady""The Superfluous Mansion (Continued)""Zero's Tale of the Explosive Bomb""The Superfluous Mansion (Continued)""Desborough's Adventure: The Brown Box""Story of the Fair Cuban""The Brown Box (Concluded)""The Superfluous Mansion (Concluded)""Epilogue of the Cigar Divan"

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Robert Louis (Balfour) Stevenson (1850-1894), was a Scottish novelist, poet, and travel writer, and a leading representative of Neo-romanticism in English literature. He was greatly admired by many authors, including Jorge Luis Borges, Ernest Hemingway, Rudyard Kipling and Vladimir Nabokov. Most modernist writers dismissed him, however, because he was popular and did not write within their narrow definition of literature. It is only recently that critics have begun to look beyond Stevenson's popularity and allow him a place in the Western canon. Stevenson was a celebrity in his own time, but with the rise of modern literature after World War I, he was seen for much of the 20th century as a writer of the second class, relegated to children's literature and horror genres. His works include: An Inland Voyage (1878), Familiar Studies of Men and Books (1882), New Arabian Nights (1882), Kidnapped (1886), The Merry Men and Other Tales and Fables (1887), Memories and Portraits (1887), Memoir of Fleeming Jenkin (1887), The Black Arrow (1888), and Master of Ballantrae: A Winter's Tale (1889).

In the volume now in your hands, the authors have touched upon that ugly devil of crime, with which it is your glory to have contended. It were a waste of ink to do so in a serious spirit. Let us dedicate our horror to acts of a more mingled strain, where crime preserves some features of nobility, and where reason and humanity can still relish the temptation. Horror, in this case, is due to Mr. Parnell: he sits before posterity silent, Mr. Forster's appeal echoing down the ages. Horror is due to ourselves, in that we have so long coquetted with political crime; not seriously weighing, not acutely following it from cause to consequence; but with a generous, unfounded heat of sentiment, like the schoolboy with the penny tale, applauding what was specious. When it touched ourselves (truly in a vile shape), we proved false to the imaginations; discovered, in a clap, that crime was no less cruel and no less ugly under sounding names; and recoiled from our false deities. . . .

In the volume now in your hands, the authors have touched upon that ugly devil of crime, with which it is your glory to have contended. It were a waste of ink to do so in a serious spirit. Let us dedicate our horror to acts of a more mingled strain, where crime preserves some features of nobility, and where reason and humanity can still relish the temptation. Horror, in this case, is due to Mr. Parnell: he sits before posterity silent, Mr. Forster's appeal echoing down the ages. Horror is due to ourselves, in that we have so long coquetted with political crime; not seriously weighing, not acutely following it from cause to consequence; but with a generous, unfounded heat of sentiment, like the schoolboy with the penny tale, applauding what was specious. When it touched ourselves (truly in a vile shape), we proved false to the imaginations; discovered, in a clap, that crime was no less cruel and no less ugly under sounding names; and recoiled from our false deities. . . .