(1899) Atherton's first publication was "The Randolphs of Redwood: A Romance," serialized in The Argonaut in March 1882 under her pseudonym Asmodeus. She published it as a novel in 1899 and re-titled it A Daughter of the Vine She drained the glass. For a moment they stared hard at each other in silence, Thorpe wondering at the sudden maturity in the face before him. All the triumphant young womanhood had gone out of it; the diabolical spirit of some ancestor entombed in the depths of her brain might have possessed her for the moment, smothering her own groping soul. The distant music filled the conservatory with a low humming sound, such as one hears in a tropical forest at noon. Suddenly Thorpe realised that the evil which is in all human souls was having its moment of absolute liberty, and that the two dissevered particles, his and hers, recognised each other. He had knocked his senseless many times in his life, but he felt no inclination to do so to-night; for so much more than what little was evil in this girl attracted and magnetised him. His brain was not clear, and it was reckless with its abrupt possession by the idea that this woman was his mate, and that, for good or for evil, there was no escaping her. He sprang to his feet, pushed the table violently aside, took her in his arms and kissed her. For a moment she was quiescent; then she slipped from his embrace and ran down the conservatory, thrusting the ferns aside. One fell, its jar crashing on the stone floor. He saw no more of her that night.--Chapter 1

(1920) ~

Love's Labor's Lost (a Poetic Comedy) At Navarre (in Spain), King Ferdinand explains to Berowne, Longaville, and Dumaine that they can stay at the court to study and contemplate for three years, but that they must: 1) never see, speak to, or be with a woman during those three years, 2) fast once per week, and 3) sleep only three hours per night, all in order to be most fit for concentrating. Berowne finds these requirements too strict and bound to be broken, but agrees to them, predicting that he will be the last to break the rules. Anthony Dull enters with Costard (a philosopher at the academy) who is charged with breaking the rules, reported by Don Adriano de Armado, an extremely loyal philosopher. Ferdinand sentences Costard to one week of fasting, overseen by de Armado. Ironically, Armado admits to his servant Moth that he is in fact in love with a woman. Hypocritically, Armado puts Costard in prison, even after he (Armado) actually admits (around others) to Jaquenetta that he loves her and will meet her later. The princess (daughter of the King of France) comes to Ferdinand's court. He won't let her in (following his rules), but instead meets her outside his gates, where she informs him her father wants a loan of 100,000 crowns repaid. Ferdinand denies he or his father ever received the money. Berowne, here, recognizes Rosaline (lady of the princess') and exchanges witty remarks with her. Dumaine, Longaville, and Berowne all ask Boyet (Lord with the princess) the names of the princess' three ladies, Katharine, Maria, and Rosaline. Boyet informs the princess and her ladies of the inquiries. Armado frees Costard early on condition that he take a letter to Jaquenetta for him. On his way, Berowne gives Costard a letter for Rosaline. Costard, however, gives Armado's letter to the princess (who claims to be Rosaline). (Letter is in Act IV, scene i, line 62) At the castle, Dull, Nathaniel, and the pedant Holofernes (whose vocabulary is immense) trade witticisms. Jaquenetta asks Nathaniel to read the letter from Armado, given to her by Costard. In fact, the letter was intended for Rosaline (from Berowne), mixed up by Costard. Holofernes tells her to take the letter and Costard to the King. Berowne, lamenting his reservations over loving Rosaline, overhears Ferdinand writing a love letter to the princess. The king and Berowne then both overhear Longaville writing one to Maria. All three overhear Dumaine writing one to Katharine. Longaville then comes forward and scolds Dumaine for his lust. The king then scolds them both. Finally, Berowne comes forward and scolds all three for breaking their oath. Berowne claims he has kept faithful, but Jaquenetta enters revealing Berowne too is in love. The four decide to break their oaths and to win over their women. The king sends Armado to Holofernes, Nathaniel, and Dull to get an idea to entertain the ladies. They decide on a performance, the Nine Worthies. Boyet informs the ladies that the men plan to visit them, disguised as foreigners. The princess switches jewelry with Rosaline and Maria with Katharine, and all plan to wear masks to confuse the men and mock them for their game. The women vow, too, to not listen and not to dance with the men. The king, though, convinces Rosaline to go with him, alone, thinking she is the princess. Berowne departs with the princess, Dumaine with Maria, and Katharine with Longaville. Yet, the women ignore the men and the men depart in frustration. The women relish in their actions and decide, if the men return undisguised, to complain to them of their "odd visitors". The men do come back, and all admit to their respective trickeries and laugh. The "Great Worthies" give their presentation: Costard as Pompey the Great, Nathaniel as Alexander the Conqueror, Moth as Hercules, Holofernes as Judas Maccabaeus, and Armado as Hector (Trojan Champion). Costard interrupts to inform Armado that Jaquenetta is two months pregnant, by Armado himself. Marcade then comes and informs all that the King of France has died; the performance is abruptly ended. The princess informs Ferdinand that she will marry him only if he goes into hermitage for one year. Katharine and Maria tell Dumaine and Longaville the same. Rosaline tells Berowne that he must spend his year in a hospital cheering up the terminally ill. Finally, Armado informs all he will finish his three years of study before marrying Jaquenetta. Shakespeare's play ends with the completion of the performance and an operatic solo, before the men set out on their respective pilgrimages.

(1895) TO THE HONOURABLE SIR HENRY HAWKINS.-- My dear Sir Henry: It gives me very great pleasure to be allowed to dedicate this book to you. I hope you will accept it as a token of thanks for much kindness, of your former Marshal's pleasant memory of his service, and of sincere respect for a clear-sighted, firm, and compassionate Judge.--Your affectionate cousin, A. H. H. London, August, 1895.

(1864) Translated by Constance Garnett (1862-1946). The author of the diary and the diary itself are, of course, imaginary. Nevertheless it is clear that such persons as the writer of these notes not only may, but positively must, exist in our society, when we consider the circumstances in the midst of which our society is formed. I have tried to expose to the view of the public more distinctly than is commonly done, one of the characters of the recent past. He is one of the representatives of a generation still living. In this fragment, entitled "Underground," this person introduces himself and his views, and, as it were, tries to explain the causes owing to which he has made his appearance and was bound to make his appearance in our midst. In the second fragment there are added the actual notes of this person concerning certain events in his life. --Author's This is the first book of a series of novels that form Dostoevsky's "second period" works, which includes "Crime and Punishment", "Karamazov Brothers", "The Idiot" and others. Though a short novel compared to the ones mentioned, we can find here the seeds of many subjects Dostoievsky was to develop further in his subsequent works. The book is divided into two parts. In the first one, the main character - an obscure student whose name is not even mentioned- introduces himself as a sick and spiteful man. He makes a long diatribe against subjects such as free will, rationalism and romanticism. He attempts to explain his ideas of life and the quest of being, relating man with a piano keyboard: man does not want to think of himself as an instrument that can be played by a superior force without having the power to use his will; rather he has to demonstrate he is a human being with an inner and singular self and not just a piece that belongs to a bigger mechanism. In the second part, this troubled man engages in telling us his difficulties to relate to other people. Here the author brings some characters into the scene, whose principal role is to show the main character's incapability to interact in society. The scene in which he delivers a wordy speech to a young prostitute in a dark cubicle is particularly touching.