I Say No by Wilkie Collins - PDF free download eBook

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  • Published: Sep 02, 2015
  • Reviews: 195

Brief introduction:

When 18-year-old Emily meets Francine, a new schoolmate from the West Indies, she finds herself telling her the story of her fathers death. The school-mistress approaches her, stating I believe I knew him and so begins Emilys desperate search to...

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Details of I Say No

ISBN
9780809594764
Publisher
Barnes & Noble
Publication date
Age range
18+ Years
Book language
EN
Pages
336
Format
PDF, CHM, DJVU, FB2
Quality
High quality OCR
Dimensions
6.00 (w) x 9.00 (h) x 0.75 (d)
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Some brief overview of this book

When 18-year-old Emily meets Francine, a new schoolmate from the West Indies, she finds herself telling her the story of her fathers death. The school-mistress approaches her, stating I believe I knew him and so begins Emilys desperate search to solve the mystery of her fathers death.

is novels are ceremonious and none too brief; they are also irresistible. Take the opening lines of his 1852 story of marital deceit, Basil: What am I now about to write? The history of little more than the events of one year, out of the twenty-four years of my life. Why do I undertake such an employment as this? Perhaps, because I think that my narrative may do good; because I hope that, one day, it may be put to some warning use. Its a typical Collins opening, one that draws the reader in with a tone thats personal, but carries formality and import. With his long, frizzy black beard and wide, sloping forehead, Collins looked like a grandfatherly type, even in his 30s. But his thinking and lifestyle were unconventional, even a bit ahead of his time. His characters (particularly the women) have a Henry James–like predilection for bucking social mores, and he occasionally found his work under attack by morality-mongers. Collins was well aware of his books potential to offend certain Victorian sensibilities, and there is evidence in some of his writings that he was prepared for it, if not welcoming of it. He writes in the preface to Armadale, his 1866 novel about a fathers deathbed murder confession, Estimated by the clap-trap morality of the present day, this may be a very daring book. Judged by the Christian morality which is of all time, it is only a book that is daring enough to speak the truth. Collins began his career by writing his painter fathers biography. He gained popularity when he began publishing stories and serialized novels in Dickenss publications, Household Words and All the Year Round. His best-known works are The Woman in White and The Moonstone, both of which — along with Basil — have been made into films. Collins often alludes to fantastic, supernatural happenings in his stories; the events themselves are usually borne out by reasonable explanations. What remains are the electrifying effects one human being can have upon another, for better and for worse. His main characters are often described in terms such as remarkable, extraordinary, and singular, lending their actions — and thereby the story — a special urgency. In one of his great successes, 1860s The Woman in White, Collins spins what is basically a magnificent con story into something almost ghostly: The fates of two look-alike women — a beautiful, well-off woman and a poor insane-asylum escapee — are intertwined and manipulated by two evil men. One of those is among the best fictional villains ever created, the kill-‘em-with-kindness Count Fosco. Fosco is emblematic of another Collins hallmark — antagonists who manage to throw their victims off guard by some powerful charm of personality or appearance. The Moonstone, published in 1868, is regarded by many to be the first English detective novel. Starring the unassuming Sergeant Cuff, it follows the trail of a sought-after yellow diamond from India that has fallen into the wrong hands. Like The Woman in White, the novel is told in multiple first person narratives that display Collinss gift for distinctive and often humorous voices. Whether it is servants, foreigners, or the wealthy, Collins is an equal-opportunity satirist who quietly but deftly pokes fun at human foibles even as he draws nuanced, memorable characters. Though The Woman in White and The Moonstone are Collinss standouts, he had a productive, consistent career; the novels Armadale, No Name and Poor Miss Finch are worthwhile reads, and his short stories will particularly appeal to Edgar Allan Poe fans. Fortunately in the case of this underappreciated writer, there are plenty of titles to appreciate.

Good To Know

Collins studied law, and though he never practiced as a lawyer, his knowledge of the subject is evident in his fiction. He also apprenticed with a tea merchant in his pre-publication years. He was addicted to laudanum, a form of opium that he used to treat his pain from rheumatic gout. Collins never married, but he had a long-term live-in relationship with one woman, and a second romance that produced three children. He is named after popular artist Sir David Wilkie; both his parents were painters who counted Samuel Taylor Coleridge and William Wordsworth among their friends.

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A few words about book author

Wilkie Collins

If you think Victorian literature is quaint, you haven’t read anything by Wilkie Collins. Often considered the father of the English detective novel, Collins has thrilled readers with suspenseful gothic tales such as The Woman in White and The Moonstone.

Biography

Wilkie Collins has long been overshadowed by his friend and collaborator Charles Dickens — unfortunately for readers who have consequently not discovered one of literatures most compelling writers. His novels are ceremonious and none too brief; they are also irresistible. Take the opening lines of his 1852 story of marital deceit, Basil: What am I now about to write? The history of little more than the events of one year, out of the twenty-four years of my life. Why do I undertake such an employment as this? Perhaps, because I think that my narrative may do good; because I hope that, one day, it may be put to some warning use. Its a typical Collins opening, one that draws the reader in with a tone thats personal, but carries formality and import. With his long, frizzy black beard and wide, sloping forehead, Collins looked like a grandfatherly type, even in his 30s. But his thinking and lifestyle were unconventional, even a bit ahead of his time. His characters (particularly the women) have a Henry James–like predilection for bucking social mores, and he occasionally found his work under attack by morality-mongers. Collins was well aware of his books potential to offend certain Victorian sensibilities, and there is evidence in some of his writings that he was prepared for it, if not welcoming of it. He writes in the preface to Armadale, his 1866 novel about a fathers deathbed murder confession, Estimated by the clap-trap morality of the present day, this may be a very daring book. Judged by the Christian morality which is of all time, it is only a book that is daring enough to speak the truth. Collins began his career by writing his painter fathers biography. He gained popularity when he began publishing stories and serialized novels in Dickenss publications, Household Words and All the Year Round. His best-known works are The Woman in White and The Moonstone, both of which — along with Basil — have been made into films. Collins often alludes to fantastic, supernatural happenings in his stories; the events themselves are usually borne out by reasonable explanations. What remains are the electrifying effects one human being can have upon another, for better and for worse. His main characters are often described in terms such as remarkable, extraordinary, and singular, lending their actions — and thereby the story — a special urgency. In one of his great successes, 1860s The Woman in White, Collins spins what is basically a magnificent con story into something almost ghostly: The fates of two look-alike women — a beautiful, well-off woman and a poor insane-asylum escapee — are intertwined and manipulated by two evil men. One of those is among the best fictional villains ever created, the kill-‘em-with-kindness Count Fosco. Fosco is emblematic of another Collins hallmark — antagonists who manage to throw their victims off guard by some powerful charm of personality or appearance. The Moonstone, published in 1868, is regarded by many to be the first English detective novel. Starring the unassuming Sergeant Cuff, it follows the trail of a sought-after yellow diamond from India that has fallen into the wrong hands. Like The Woman in White, the novel is told in multiple first person narratives that display Collinss gift for distinctive and often humorous voices. Whether it is servants, foreigners, or the wealthy, Collins is an equal-opportunity satirist who quietly but deftly pokes fun at human foibles even as he draws nuanced, memorable characters. Though The Woman in White and The Moonstone are Collinss standouts, he had a productive, consistent career; the novels Armadale, No Name and Poor Miss Finch are worthwhile reads, and his short stories will particularly appeal to Edgar Allan Poe fans. Fortunately in the case of this underappreciated writer, there are plenty of titles to appreciate.

Good To Know

Collins studied law, and though he never practiced as a lawyer, his knowledge of the subject is evident in his fiction. He also apprenticed with a tea merchant in his pre-publication years. He was addicted to laudanum, a form of opium that he used to treat his pain from rheumatic gout. Collins never married, but he had a long-term live-in relationship with one woman, and a second romance that produced three children. He is named after popular artist Sir David Wilkie; both his parents were painters who counted Samuel Taylor Coleridge and William Wordsworth among their friends.

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