By Walter Besant. Introduction by Colin Heston.

First published in 1893, The Ivory Gate stands among the late novels of Walter Besant, a writer whose career was defined by a sustained engagement with the moral, social, and psychological pressures of modern urban life. Appearing at the close of the Victorian era, the novel reflects both Besant’s long-standing commitment to social realism and his increasing interest in the interior life of the individual—especially the fragile boundary between aspiration and illusion.
The title itself announces the book’s governing metaphor. In classical and medieval literature, the “ivory gate” is the passage through which false dreams pass into waking life, as opposed to the gate of horn, from which true dreams emerge. Besant adapts this image to late-nineteenth-century conditions, using it to explore the seductive power of unrealized hopes, romantic delusions, and social fantasies that shape—and often distort—human conduct. The novel is less concerned with overt villainy than with self-deception: the quiet, persistent capacity of individuals to misread their circumstances and to substitute imagined futures for lived realities.
For modern readers, the novel remains strikingly relevant. Its exploration of illusion, self-fashioning, and the tension between inner fantasy and external reality resonates with contemporary concerns about identity, expectation, and social pressure. While its Victorian idiom and moral framework are firmly rooted in the nineteenth century, its psychological insights anticipate later treatments of self-deception and emotional displacement.
This new edition invites readers to reconsider The Ivory Gate not simply as a period piece, but as a thoughtful and understated meditation on the human tendency to live in dreams of our own making. In tracing the quiet tragedies that arise when those dreams eclipse judgment, Besant offers a work of enduring moral seriousness—one that illuminates both the anxieties of his age and the persistent vulnerabilities of our own.

A READ-ME.ORG CLASSIC REPRINT. New York-Philadelphia-Australia. 2025. 321p.

By Robert Louis Stevenson. Edited by Colin Heston

"The New Arabian Nights" by Robert Louis Stevenson is a captivating collection of short stories that showcases his talent for blending adventure, mystery, and humor. Volume 4 of his works includes these tales, which are inspired by the classic "Arabian Nights" but set in contemporary Europe.

The Suicide Club: The collection opens with "The Suicide Club," a trilogy of stories that revolve around Prince Florizel of Bohemia and his loyal companion, Colonel Geraldine. They stumble upon a secret society where members gamble with their lives, seeking an escape from their troubles through death. The stories are filled with suspense, intrigue, and Stevenson's signature wit, as the prince and the colonel navigate dangerous situations to uncover the club's dark secrets.

The Rajah's Diamond: Another notable story is "The Rajah's Diamond," which is divided into four parts. It follows the adventures of a priceless diamond and the various characters who come into possession of it. The diamond's journey leads to a series of thrilling and unexpected events, showcasing Stevenson's ability to weave complex plots and create memorable characters.

Other Stories: The volume also includes other engaging tales such as "The Pavilion on the Links," a story of love, betrayal, and revenge set against the backdrop of a remote Scottish coast, and "A Lodging for the Night," which features the infamous French poet François Villon and his escapades in medieval Paris.

"The New Arabian Nights" is a testament to Stevenson's versatility as a writer. Each story is rich with vivid descriptions, dynamic characters, and a blend of humor and suspense. Stevenson's ability to transport readers to different settings and immerse them in the adventures of his characters makes this collection a delightful and compelling read. Volume 4 of his works highlights Stevenson's skill in crafting engaging narratives that continue to captivate readers with their originality and charm.

Australia. Read-Me.Org. Inc. 2025. 197p.

Edited By Aviva Tuffield

Proving that the short story is alive and well in Australia, this eclectic anthology of previously unpublished and uncollected vignettes showcases some of the finest authors from Down Under—from seasoned practitioners to rising and emerging stars of the short story firmament. At once poignant, tender, introspective, and funny, the volume includes a wide variety of genres, from humor and romance to drama and mystery. Capturing whole lives in just a few satisfying pages, this lively compendium is ideal for dipping into and perfect for those seeking inspiration and escape.. This eclectic anthology of new stories showcases some of our finest writers, and proves that the short story is alive and well in Australia.

From seasoned practitioners of the form through to emerging stars of the short-story firmament, New Australian Stories 2 caters for all tastes. There's humour, mystery, drama, and even some delusion and deceit. Ideal for dipping into, and perfect for those seeking inspiration and escape, this collection is designed for your reading pleasure.

Full list of contributors: Debra Adelaide, Claire Aman, Jon Bauer, Melissa Beit, Tegan Bennett Daylight, Tony Birch, Georgia Blain, Patrick Cullen, Sonja Dechian, Brooke Dunnell, Peggy Frew, Julie Gittus, Marion Halligan, Jacinta Halloran, Karen Hitchcock, Anne Jenner, Myfanwy Jones, Lesley Jorgensen, Cate Kennedy, Zane Lovitt, Scott McDermott, Fiona McFarlane, Jane McGown, A.G. McNeil, Susan Midalia, Jennifer Mills, Meg Mundell, Peta Murray, Ruby J. Murray, Mark O'Flynn, Ryan O'Neill, Paddy O'Reilly, Kate Ryan, Emma Schwarcz, Jane Sullivan, Chris Womersley.

Melbourne Scribe. 2009. 339p.

By Lisa Hopkins

This book explores why crime fiction so often alludes to Shakespeare. It ranges widely over a variety of authors including classic golden age crime writers such as the four ‘queens of crime’ (Allingham, Christie, Marsh, Sayers), Nicholas Blake and Edmund Crispin, as well as more recent authors such as Reginald Hill, Kate Atkinson and Val McDermid. It also looks at the fondness for Shakespearean allusion in a number of television crime series, most notably Midsomer Murders, Inspector Morse and Lewis, and considers the special sub-genre of detective stories in which a lost Shakespeare play is found. It shows how Shakespeare facilitates discussions about what constitutes justice, what authorises the detective to track down the villain, who owns the countryside, national and social identities, and the question of how we measure cultural value.

London; New York: Palgrave Macmillan, 2016. 211p.