First published privately in Florence in 1928, it only became a world-wide best-seller after Penguin Books had successfully resisted an attempt by the British Director of Public Prosecutions to prevent them offering an unexpurgated edition. The famous ‘Lady Chatterley trial’ heralded the sexual revolution of the coming decades and signalled the defeat of Establishment prudery.

It tells of Tess Durbeyfield, the daughter of a poor and dissipated villager, who learns that she may be descended from the ancient family of d’Urbeville. In her search for respectability her fortunes fluctuate wildly, and the story assumes the proportions of a Greek tragedy. It explores Tess’s relationships with two very different men, her struggle against the social mores of the rural Victorian world which she inhabits and the hypocrisy of the age.

In addressing the double standards of the time, Hardy’s masterly evocation of a world which we have lost, provides one of the most compelling stories in the canon of English literature, whose appeal today defies the judgement of Hardy’s contemporary critics.

In this powerful deconstruction of Calvinist belief and the hypocrisy at the heart of Victorian society, Stevenson creates a gothic icon in the divided self that is Dr Jekyll and Mr Hyde. Born from a nightmare and anticipating Freud’s theory of the unconscious, Stevenson literalises the concepts of the supernatural doppelgänger and the split personality in a timeless tale of guilt, desire, and violence by which all subsequent ‘double’ stories must be judged. In seeking to cleanse his soul of sin, Dr Henry Jekyll instead unleashes a monster. First published in 1886, this tragic study of the duality of man established Stevenson’s international reputation as an author.

This volume also contains Stevenson’s 1887 collection of short stories, The Merry Men and Other Tales and Fables, which includes a further exploration of the mind of a murderer, ‘Markheim’, and the occult tales of terror, ‘The Merry Men’, ‘Olalla’, and ‘Thrawn Janet’.    

Victor Frankenstein driven by the mad dream of creating his own creature, experiments with alchemy and science to build a monster stitched together from dead remains. Once the creature becomes a living breathing articulate entity, it turns on its maker and the novel darkens into tragedy. The reader is very quickly swept along by the force of the elegant prose, the grotesque, surreal imagery, and the multi-layered themes in the novel.

Although first published in 1818, Shelley’s masterpiece still maintains a strong grip on the imagination and has been the inspiration for numerous horror movies, television and stage adaptations.

But it is also a hymn to democracy. Bent as the crew is on Ahab’s appalling crusade, it is equally the image of a co-operative community at work: all hands dependent on all hands, each individual responsible for the security of each.

Among the crew is Ishmael, the novel’s narrator, ordinary sailor, and extraordinary reader. Digressive, allusive, vulgar, transcendent, the story Ishmael tells is above all an education: in the practice of whaling, in the art of writing. Expanding to equal his ‘mighty theme’ – not only the whale but all things sublime – Melville breathes in the world’s great literature. Moby Dick is the greatest novel ever written by an American.

Thus Bram Stoker, one of the greatest exponents of the supernatural narrative, describes the demonic subject of his chilling masterpiece Dracula, a truly iconic and unsettling tale of vampirism.