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Why You Should Read It: A landmark depiction of Victorian values and culture, Dracula tells the macabre tale of Count Dracula, a vampire who feeds on the blood of mortals.
Why You Should Read It: This Gothic thriller tells the story of a grotesque creature brought to life in the lab of Doctor Victor Frankenstein. Why You Should Read It: Considered by most to be the novel from which all subsequent American novels draw inspiration, Huckleberry Finn is the more grounded sequel to Twain’s idyllic Tom Sawyer. Why You Should Read It: A tale largely of revenge and the lengths men will go to for their freedom, The Count Of Monte Cristo tells the story of a man who is wrongfully imprisoned, escapes from jail, acquires a fortune, and exacts revenge on those responsible for his imprisonment.
From effectively targeting markets, writing dynamic query letters, building authors’ online platforms, and much more—find out how Writer’s Relief can boost your exposure and maximize your acceptance rate. Why You Should Read It: This classic romance and social satire follows the main character, Elizabeth Bennet, as she deals with manners, upbringing, morality, education, and marriage in the society of the landed gentry of early 19th-century England.
Why You Should Read It: In Jane Eyre, a young orphan is hired as a governess for the children of  Mr. Why You Should Read It: A classic example of the fantasy genre, this is the story of a young girl living in 19th-century England who falls down a rabbit hole and into the midst of a fantastic world where animals can talk and everything she knows to be true suddenly seems fictitious.
Why You Should Read It: An example of Gothic literature, Dorian Gray tells the story of a libertine who sells his soul in order to live a life of debauchery and sin while his portrait ages and decays in his place.
Why You Should Read It: This epic story tells the tale of an ex-convict and his quest for redemption.
Why You Should Read It: This highly acclaimed novel explores the mental anguish and moral dilemmas of Rodion, an impoverished ex-student in St. There are so many wonderfully written and culturally significant classic novels that it’s difficult to select just ten to read. I finished the first draft and looking for publisher, this book also will contribute to a certain extent to the collections.
I read and enjoyed many books in this list, and I can’t wait to read Frankenstein and Crime and Punishment. Free Publishing Leads and TipsOur e-publication, Submit Write Now!, will be delivered weekly to your inbox. Eloquently written and socially progressive, this novel not only introduced the Count to popular culture, but established horror’s status as a legitimate subgenre.
It was written as part of a bet among Shelley’s contemporaries as to who could write the better horror story. It tells the tale of a young boy who embarks on an adventure down the Mississippi River—and it embraces the youthful spirit in all of us. A riveting tale of morality, Dorian Gray was highly controversial at the time and came under criticism as being indecent—and was even censored at the time of its original publication. Examining the nature of law and grace, the novel elaborates upon the history of France, the architecture and urban design of Paris, politics, moral philosophy, antimonarchism, justice, religion; as well as the nature of romantic and familial love.
Petersburg who formulates and executes a plan to kill an unscrupulous pawnbroker for her cash.
These are our selections for a great start—choose one (or more) and see where the pages take you! It has different perspective of cultural point of view and enumerating life experience step by step.

I’m 18 years old and the book makes me realise that although we live in a world full of pursuit for wealth, marrying for love still is a good decision. Feel free to join the discussion by leaving comments, and stay updated by subscribing to the RSS feed. Open 2013: Wednesday schedule, TV info and start times by Josh SanchezHow will consumers respond to Samsung releasing new toys at IFA? For this list, we’ve considered “classic” to include any novel written before the twentieth century. Little did Shelley know, her novel would become one of the most highly acclaimed novels in history.
The novel contains elements of social criticism with a strong sense of morality at its core, but is nonetheless a novel many consider ahead of its time given the individualistic character of Jane and the novel’s exploration of classism, sexuality, religion, and proto-feminism. The enduring popularity of Les Mis has resulted in its adaptation into several films and musicals. He justifies his actions by convincing himself that having the pawnbroker’s money will allow him to perform good deeds to counterbalance the crime, while also ridding the world of worthless vermin. Sometimes i always fear that i’ll end up like Charlotte Lucas who married Mr Collins because she felt like a burden to her parents. Several times throughout the novel, the protagonist justifies his actions by comparing himself to Napoleon Bonaparte, believing that murder is permissible in pursuit of a higher purpose.
However, he soon finds himself wracked with guilt and pondering whether he should clear his conscience by confessing his crime. BS — but those rationalizations, those bits of misdirection that serve to remove the individual reader from the smug spotlight by turning the act of reading into an act of cultural participation, are actually self-undermining.
It’s an impossible uphill battle where credit is sought for simply treading on the slope. Really, we’d be better off if people just shut up about what art they were consuming because, like sharing your dream that has symbolism only to you, nobody actually gives a crap. On the most basic level, a novel is a considered a classic because it is in some way challenging, either to the reader in the present day (challenging in terms of language or form) or to the reader in the time it was written (challenging in terms of content). This is a strange desire (not because seeking credit is somehow abnormal, but because seeking credit in an almost unachievable task seems like a colossal time waster). To be blunt, it is impossible to truly feel the impact of a groundbreaking classic novel unless you were around when it was written. The most learned and dedicated readers, those who can come closest to truly understand a classic for its true cultural weight, are academics, and (thankfully) not everyone has the time to immerse themselves in literary academia, to spend ghastly sums of money learning the requisite historical context to really know and, more importantly, feel what, say, Finnegans Wake is all about.
So, really, there is no true way to experience the challenging nature of a classic as it pertains to the historical context in which it was originally published unless you’re in possession of a time machine and have the weird desire to use that technology to become intimately familiar with the impact of Thomas Hardy novels. Novels can be difficult because on a textual level they are unfamiliar, be it in diction or syntax or any other formal structure.
This level of understanding demands time and outside reading, work beyond the scope of effort likely justifiable to even the most avid reader when utilitarian allocations of time are concerned. So, then, the challenging nature of classic novels is a bit more complex than might initially appear. They are difficult in both form and in content, and to comprehend and overcome those challenges requires an effort bordering on the Quixotic impossible.

What have you accomplished by slogging through, say, Gravity’s Rainbow when a professor at Yale has read it hundreds of times in the past few decades? You’re reading of the book is a magical pass that allows you to access a certain, desirable, privileged realm of conversation. However, what’s important to remember is that the people drawn to reading classics are likely not the people salivating over the latest Airplane Lit.
The appeal of being able to share your reading experience with statistically a greater number of people is only valuable if you want to associate with and be associated with said people. What’s fascinating about this desiring of intellectual bragging rights via affiliation with a certain demographic of art enthusiasts is that it seems almost unique to novels, at least on a widespread cultural scale.
Sure, there will be snobs and elitist sucking the fun out of every art form, but our conception of reading gives novels a bizarrely elevated status.
There is atonal, intentionally cacophonous music that is praised, sure, but on the whole people prefer tunes they can dance to, music rooted in an understood genre. Certain independent and experimental films can seemingly take Hollywood by storm, but even the most Cannes-worshipping moviegoer can find something worthwhile in a generic popcorn flick. The positive effects reading has on mental health, acuity, and development have all been well-documented. This serves as the most basic justification for why we hold novels in such a high regard; reading is actively good for you. You can’t really read and do something else at the same time, whereas other forms of art are more passively received, ergo allowing multitasking to occur without the fear of losing comprehension.
The personal investment of time required by reading, then, creates the environment in which we want to use what we’ve read as means of signifying our belonging to a certain group. Reading causes you to be isolated, an ostensibly egotistical act considering the connected world we live in, and we need a means (conversing with other readers) to dilute that selfishness.
Yet, as was previously said, to read the classics is inescapably selfish in a way, an act of trying to ensure that the other readers you can now connect with are the people you want to be thought of alongside.
However, we live in a cultural where personal tastes are increasingly important (and visible) as signifiers of who we are. In a time where connotations reign supreme, almost all acts, from the monumental to the mundane, seem rife for analysis and extrapolation. The solution is not to brand lovers of classic literature as somehow evil, but rather to indict the system that reinforces the social value and cultural clout of classic novels. To eliminate such a social practice would allow, finally, more contemporary novels to receive their just dues, a positive change from the obsessions with relics we have now. The compulsion to read classic novels, then, should not be confused with the compulsion to read respected, good literature that is more contemporary.
You can read novels that challenge and push you without you having to battle against the text, without being forced to keep a tab open on your browser to a webpage for translating Old English into a more modern and comprehensible tongue. Classic novels of bygone eras are by no means worthless, but one should take caution when considering if they are personally worthwhile.

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