By Ring W. Gardner (Author), Colin Heston (Preface) Format: Kindle Edition

Round Up gathers together the taut, muscular stories of Ring W. Lardner, a writer whose work bridges the divide between the mythologized West and its harsher, less forgiving realities. In these pages, Lardner is neither sentimental nor nostalgic. He strips the Western narrative to its barest elements, presenting us with a landscape that is both expansive and claustrophobic, and characters who are caught between the lure of freedom and the inevitability of fate.
Lardner’s contribution to the American short story lies in his ability to invest the familiar tropes of frontier life with psychological depth and moral ambiguity. His cowboys and ranchers are not mere archetypes; they are restless souls negotiating loyalty, isolation, and survival in a world where law and justice are provisional at best. The violence in these stories is never gratuitous—it is sudden, often senseless, and always carries a human cost. Lardner understands that the West was not only a place but also an idea, one that promised reinvention yet often delivered ruin.
What sets Lardner apart from many of his contemporaries is his prose: terse, unsentimental, yet charged with a quiet lyricism. His narratives move with the inevitability of a gathering storm, his dialogue as spare as the plains he describes. The result is a body of work that feels astonishingly modern in its refusal of easy resolutions.
In an era when the Western genre risks being dismissed as an artifact of popular culture, Round Up demands reconsideration. These are not mere adventure tales or moral fables. They are stories of a liminal world, where the boundaries between civilization and wilderness, justice and vengeance, myth and memory, blur and collapse. Lardner’s West is not simply the West that was; it is also the West as it continues to haunt the American imagination.

By George Meredith. Designed and Edited with an Introduction by Colin Heston.

Sandra Belloni, first published in 1864 under the title Emilia in England, occupies a distinctive place in the literary corpus of George Meredith. It represents one of his earliest extended efforts to merge the comic novel with a more pointed social critique, a technique that would become a hallmark of his mature style. This novel, rich in subtle irony and psychological insight, grapples with the tensions between individuality and conformity, art and social convention, and the constraints of class and gender in Victorian England. At its heart, it is a narrative about a young woman of Italian descent, Emilia Belloni, whose musical gifts and unorthodox spirit clash with the expectations of the rigid English society into which she is thrust.

Meredith uses Emilia’s character not merely as a protagonist but as a symbolic figure—an embodiment of passionate sincerity, artistic freedom, and the disruptive power of the outsider. Emilia’s foreignness is not just ethnic; it is deeply cultural and emotional. Her instincts are governed by feeling and a commitment to truth, which repeatedly brings her into conflict with the carefully cultivated hypocrisies and social facades of the English middle and upper classes. Through her, Meredith examines the ways in which English society suppresses emotional authenticity in favor of propriety and self-interest.

In reading Sandra Belloni today, one encounters not only a portrait of Victorian society in all its contradictions but also an enduring exploration of the universal struggle between the self and society, between the voice that seeks to sing freely and the forces that would silence it. It is a novel that resonates beyond its historical moment, inviting readers to reflect on the costs and necessities of remaining true to oneself in the face of overwhelming pressure to conform.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2025. 318p.

By George Meredith. Designed and Edited with an Introduction by Colin Heston

The Adventures of Harry Richmond, first published in serial form between 1870 and 1871, then in full in 1871, occupies a fascinating place in the evolution of the English novel. A heady mixture of picaresque adventure, coming-of-age narrative, satire, romance, and psychological study, it is one of George Meredith’s most ambitious works. Beneath its surface as a lively and sometimes eccentric tale of a young man’s escapades lies an intricate meditation on the construction of identity, the conflict between appearance and reality, and the profound influence of family, class, and society. These themes connect the novel powerfully to concerns that dominate modern fiction.

At its core, Harry Richmond examines how identity is not simply inherited but assembled—through choice, resistance, deception, and chance. Harry Richmond is born into a web of conflicting influences: his father, Roy Richmond, is a charming but unscrupulous social climber whose life revolves around maintaining appearances and manipulating social structures; his grandfather, Squire Beltham, represents a rigid, landed English respectability that is both moralistic and emotionally cold. Caught between these poles, Harry’s life becomes a journey to define himself outside the narrow confines of these competing legacies.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2025. 355p.

By George Meredith (Author), Colin Heston (Introduction)

At the heart of One of Our Conquerors is the story of Victor Radnor, a self-made, successful businessman who embodies the energies of commercial Victorian England. Victor is a man of formidable charm, ambition, and benevolence, yet he is ensnared in a socially precarious position due to his relationship with his beloved partner, Nataly, with whom he has lived for years as husband and wife without formal marriage. Their union, socially illegitimate though personally devoted, becomes the focal point for much of the novel’s tension. Victor’s desire to legitimize their relationship and secure a respectable position for their daughter Nesta in society serves as the narrative’s driving conflict.
Meredith, ever the ironist, does not present Victor uncritically. Victor is a man of immense energy, imagination, and generosity, but also prone to illusions—particularly about the power of charm, wealth, and personal will to override the deeper currents of social judgment. His belief that society can be bent to his personal desires reflects both the optimism of the self-made man and the hubris that often accompanies unchecked ambition. In this sense, the title One of Our Conquerors carries a double edge: it acknowledges Victor’s triumphs in commerce and his conquest of circumstances but also points to the broader critique of conquest itself—whether in business, society, or personal relationships.
One of Our Conquerors is a profound exploration of the tensions between private morality and public life, between individual will and social constraint, and between the old moral orders and the emerging complexities of modernity. It challenges readers to consider the costs of social conformity, the meaning of success, and the possibilities for human integrity in a world increasingly driven by commerce, appearance, and social performance. As with Meredith’s other major works, it is a novel whose rewards are commensurate with the patience and thoughtfulness brought to it—a work that continues to resonate with readers interested in the enduring struggles between the personal and the public, the ideal and the real.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2025. 291p.

By George Meredith (Author), Colin Heston (Introduction)

Evan Harrington, first published in 1861, represents a crucial early milestone in the literary career of George Meredith. While not as formally experimental or philosophically dense as his later masterpieces like The Egoist or Beauchamp’s Career, this novel nonetheless displays in fully developed form the sharp social satire, psychological acuity, and probing concern with class, identity, and social performance that would become hallmarks of Meredith’s mature work. More overtly comedic than much of his later fiction, Evan Harrington occupies a unique place in his canon as both a sparkling social comedy and a pointed critique of the hypocrisies embedded within Victorian class structures.
At its most basic level, Evan Harrington is a novel about a young man’s struggle with the question of identity — specifically, the tension between his personal merit and the social stigma attached to his family’s occupation. Evan is the son of Melchisedec Harrington, an exceedingly proud and flamboyant tailor whose death leaves his family facing financial and social crisis. Although Evan has received a gentleman’s education and possesses the manners and intellect of the upper classes, he is forced to reckon with the fact that in the rigidly stratified world of mid-19th century England, the mere fact of being “the tailor’s son” is enough to exclude him from the ranks of polite society.
Evan Harrington remains a vital and compelling work not only because it provides insight into Meredith’s literary evolution but also because its central concerns continue to resonate. The tension between personal integrity and social expectation, the arbitrariness of class distinctions, and the enduring question of what it means to live authentically within a society structured by appearances — these remain pressing questions in any era.
In sum, Evan Harrington is both a sparkling social comedy and a profound moral fable. It combines the pleasures of sharp character portraits, witty dialogue, and romantic intrigue with a serious exploration of identity, class, and the painful comedy of human vanity. It is a work that delights the reader while also challenging them to reflect on the enduring absurdities of social life and the courage it takes to live truthfully in the face of them. As such, it stands as a worthy introduction to the genius of George Meredith and a foundational text within the broader tradition of the Victorian social novel.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2025. 332p.

By George Meredith (Author), Colin Heston (Introduction)

Diana of the Crossways, first published in 1885, represents a pivotal achievement in George Meredith’s literary career. It stands apart not merely as his most commercially successful novel during his lifetime but as a mature and sophisticated exploration of some of the most pressing social, psychological, and philosophical dilemmas of the Victorian age. This novel synthesizes his longstanding thematic concerns—gender relations, the constraints of marriage, the struggle for individual autonomy, and the social mechanisms of hypocrisy and surveillance—into a narrative that is at once accessible, profoundly ironic, and deeply analytical.
At its center is the figure of Diana Merion Warwick, a woman of exceptional beauty, intellect, and vivacity, whose struggle is emblematic of the tensions between the individual, particularly the intellectually aspiring woman, and a society structured to suppress her independence. Diana’s trajectory is not merely the story of a woman’s personal fate but a dramatization of the larger structural impediments to female agency in a patriarchal world that equates female virtue with silence, obedience, and domestic confinement.
The novel’s contemporary relevance is striking. Its exploration of gendered power dynamics, the politics of reputation, the policing of women’s voices, and the ethical failures of institutions built on inequality continues to resonate with modern readers. It anticipates many of the concerns that would later be taken up by feminist literary critics, particularly in its portrayal of how systemic power operates through language, marriage, and social surveillance.
Diana of the Crossways thus stands not merely as a compelling work of Victorian fiction but as a profound literary experiment in social critique, psychological realism, and moral philosophy. It is a novel that challenges the reader to think deeply about the structures of power that govern intimate relationships and public life, and about the costs of pursuing truth and autonomy in a world designed to punish those who do. Through its combination of narrative wit, philosophical depth, and emotional intensity, it remains one of George Meredith’s most enduring and significant achievements.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2025. 275p.

By  Robert Louis Stevenson and Lloyd Osbourne, Edited by Colin Heston.

“The Ebb-Tide: A Trio and Quartette” is a dark, psychologically complex novella co-written by Robert Louis Stevenson and his stepson Lloyd Osbourne, first published in 1894. Included in Volume XIX of the Swanston Edition of Stevenson’s collected works, this tale marks one of the final literary efforts of Stevenson’s life and reflects his mature style—gritty, morally ambiguous, and deeply engaged with the human condition.

Set in the South Pacific, a region Stevenson had come to know intimately during his later years, The Ebb-Tide follows three disgraced and destitute Europeans—Herrick, Davis, and Huish—who find themselves stranded in Tahiti. When they are offered the chance to captain a cargo schooner, the Farallone, they seize the opportunity, only to discover that the ship is carrying a mysterious and morally troubling cargo. Their journey soon spirals into a tale of greed, betrayal, and existential crisis, culminating in a confrontation with Attwater, a charismatic and enigmatic missionary who lives alone on a remote island.

The novella is notable for its psychological depth and moral complexity. Each character represents a different facet of human weakness—cowardice, cruelty, and self-deception—and Stevenson explores how these traits play out under the pressures of isolation and lawlessness. The tropical setting, far from being idyllic, becomes a backdrop for moral decay and spiritual reckoning. The story’s title, The Ebb-Tide, metaphorically suggests the retreat of moral certainty and the erosion of personal integrity.

Stylistically, the work is lean and intense, with Stevenson’s prose sharpened by his collaboration with Osbourne. The narrative is driven by suspense and philosophical inquiry, raising questions about redemption, colonialism, and the nature of evil. It is often seen as a companion piece to Stevenson’s earlier South Seas fiction, such as The Beach of Falesá, but it is darker and more introspective in tone.

The Swanston Edition provides this novella with critical annotations and historical context, situating it within Stevenson’s broader literary and biographical trajectory. As one of his final works, The Ebb-Tide offers a powerful and unsettling vision of the human soul adrift—both literally and morally—on the margins of empire and civilization.

Read-Me.Org Inc. Australia-New York-Philadelphia. 2025. 216p.

By David de Boer

For victims of persecution, attracting international awareness of their plight is often a matter of life and death. This book uncovers how in seventeenth-century Europe, persecuted minorities first learned how to use the press as a weapon to combat religious persecution. To mobilize foreign audiences, they faced an acute dilemma: how to make people care about distant suffering? This study argues that by answering this question, they laid the foundations of a humanitarian culture in Europe. The book reveals how, as consuming news became an everyday practice for many Europeans, the Dutch Republic emerged as an international hub of printed protest against religious violence. It traces how a diverse group of people, including Waldensian refugees, Huguenot ministers, Savoyard officeholders, and many others, all sought access to the Dutch printing presses to raise transnational solidarity for their cause. By examining their publicity strategies, this study deepens our understanding of how people tried to confront the specter of religious violence that had haunted them for generations.

Oxford, UK: Oxford University Press, 2023. 225p.

By Markus Nehl

Markus Nehl focuses on black authors who, from a 21st-century perspective, revisit slavery in the U.S., Ghana, South Africa, Canada and Jamaica. Nehl’s provocative readings of Toni Morrison’s »A Mercy«, Saidiya Hartman’s »Lose Your Mother«, Yvette Christiansë’s »Unconfessed«, Lawrence Hill’s »The Book of Negroes« and Marlon James’ »The Book of Night Women« delineate how these texts engage in a fruitful dialogue with African diaspora theory about the complex relation between the local and transnational and the enduring effects of slavery. Reflecting on the ethics of narration, this study is particularly attentive to the risks of representing anti-black violence and to the intricacies involved in (re-)appropriating slavery's archive.

Bielefeld, Germany: transcript Verlag, 2016. 213p.