“Call me Ishmael” says Moby Dick’s protagonist, and with this famous first line launches one of the acclaimed great American novels. Part adventure story, part quest for vengeance, part biological textbook, and part whaling manual, Moby Dick was first published in 1851. The story follows Ishmael as he abandons his humdrum life on shore for an adventure on the waves. Finding the whaler Pequod at harbor in Nantucket, he signs up for a three-year term without meeting the captain of the ship, a mysterious figure called Ahab. It’s only well into the voyage that Ahab’s thirst for vengeance against the eponymous white whale Moby Dick—and the consequences—become clear. The novel is semi-autobiographical: Herman Melville had had his own experience of whaling, having spent a year and a half aboard a whaling ship and further years traveling the world in the early 1840s. Melville used the knowledge gained from his experiences and wide reading on the subject to furnish Moby Dick with an almost encyclopedic quality. The literary style varies widely, veering from soliloquies and staged scenes to dream sequences to comprehensive lists of ships’ provisions, but everything serves to further detail the world that’s being painted. Presented here is the New York edition, which was published later than the London edition and reverted numerous changes the original publishers had made, as well as including the initially omitted epilogue.

The Great Gatsby is a novel that needs no introduction for a certain generation of American readers. Long taught as required reading in American schools, critics have consistently held it up alongside Moby Dick, Huck Finn, and To Kill a Mockingbird as perhaps the quintessential Great American Novel. Nick Carraway is a young Midwestern man freshly arrived in New York to make his fortune. He rents a shabby apartment in Long Island next door to a sumptuous mansion: the home of the mysterious and wealthy Jay Gatsby. Carraway spends time catching up with his distant cousin Daisy and her industry-baron husband Tom before being invited to one of Gatsby’s wildly lavish weekend parties. There he meets Jordan, a flapper and a golf star, and an intricate web of romances and betrayals begins to unfold. The novel is a colorful study of America’s Jazz Age—a term said to be coined by Fitzgerald himself—complete with wealthy socialites living in hedonistic abandon, libertine flappers, jazz bands, roaring roadsters, and greasy speakeasies populated with shady grifters. Contrasted against the glamorous lives of wealthy socialites is the entrenched lower class, who live in gray, dingy squalor among smoldering ash-heaps. Fitzgerald uses the setting to examine the American Dream: the idea that anyone in America can achieve success through hard work and dedication. Gatsby has spent his life reaching for his dream. Some say he’s already achieved it. But has he? Is the dream even real for the hard-working poor that Gatsby and Tom race past in their glittering cars on the way to the decadent city? Fitzgerald wrote much of his real life into the novel. Like Carraway, he was a Midwesterner educated at an Ivy-league school who went to live on Long Island. Despite his meager finances he hobnobbed with socialites, and spent his career struggling for money to maintain the grand style his romantic interests were accustomed to. The cover art, titled Celestial Eyes, was commissioned from Francis Cugat, who completed it before the novel was finished. The huge eyes gazing down on the blazing city so moved Fitzgerald that he wrote them into the story. Fitzgerald saw the novel as a purely artistic work, free of the pulp pandering required by his shorter commissions—but despite that, contemporary reviews were mixed, and it sold poorly. Fitzgerald thought it a failure, and died believing the novel to be fatally obscure. Only during World War II did it come back to the public consciousness, buoyed by the support of a ring of writers and critics and printed as an Armed Service Edition to be sent to soldiers on the front. Now it is an American classic.

Mary Shelley (then Godwin) and Percy Bysshe Shelley were visiting their friend Lord Byron in Geneva one rainy summer. With the weather against them, they decided to spend their time writing ghost stories for each other. Frankenstein is Mary Shelley’s submission to their contest, later published anonymously in 1818. Victor Frankenstein, a strange but brilliant scientist, discovers a method of imparting life to inanimate matter. The Monster is thus born: a hideous, 8-foot-tall creature of muscle, speed, and intellect. Frankenstein’s rejection of his appalling creation sends it into a spiral of despair, and Frankenstein’s life is never the same. Considered by many to be the first science fiction novel, Frankenstein is a powerful narrative that explores complex themes of belonging, morality, and the consequences of the power over life and death. This edition is based on Shelley’s revised 1831 edition.

Crime and Punishment tells the story of Rodion Raskolnikov, an ex-student who plans to murder a pawnbroker to test his theory of personality. Having accomplished the deed, Raskolnikov struggles with mental anguish while trying to both avoid the consequences and hide his guilt from his friends and family. Dostoevsky’s original idea for the novel centered on the Marmeladov family and the impact of alcoholism in Russia, but inspired by a double murder in France he decided to rework it around the new character of Raskolnikov. The novel was first serialized in The Russian Messenger over the course of 1866, where it was an instant success. It was published in a single volume in 1867. Presented here is Constance Garnett’s 1914 translation.

The Picture of Dorian Gray was first published as a serial in Lippencott’s Monthly Magazine, and the publishers thought it would so offend readers that they removed nearly 500 words without Wilde’s approval. Wilde soon expanded it and republished it as a novel, including a short preface justifying his art. Even though his contemporaries considered it so offensive that some argued for his prosecution, Dorian Gray today survives as a classic philosophical novel that explores themes of aestheticism and double lives. Couched in Wilde’s trademark cutting wit, Dorian Gray is still being adapted today, with Dorian and his moldering portrait remaining cultural touchstones.

Pride and Prejudice may today be one of Jane Austen’s most enduring novels, having been widely adapted to stage, screen, and other media since its publication in 1813. The novel tells the tale of five unmarried sisters and how their lives change when a wealthy eligible bachelor moves in to their neighborhood.

Edmond Dantès is a young man about to be made captain of a cargo vessel and marry his sweetheart. But he is arrested at his pre-wedding feast, having been falsely accused of being a Bonapartist. Thrown into the notorious Château d’If prison, he eventually meets an ancient inmate who teaches him language, science, and passes hints of a hidden fortune. When Edmond makes his way out of prison, he plots to reward those who stood by him (his old employer, for one), and to seek revenge on the men who betrayed him: one who wrote the letter that denounced him, one that married his fiancée in his absence, and one who knew Dantès was innocent but stood idly by and did nothing. The Count of Monte Cristo is another of Alexandre Dumas’ thrilling adventure stories, possibly more popular even than The Three Musketeers. Originally serialized in a French newspaper over the course of a year-and-a-half, it was enormously popular after its publication in book form, and has never been out of print since. Its timeless story of adventure, historical drama, romance, revenge, and Eastern mystery has been the source of over forty movies and TV series.

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