This collection of moral essays is a semi-sequel toRobinson Crusoe.It may or may not have been written by Daniel Defoe, this original work's author.

'It happen'd one Day about Noon going towards my Boat, I was exceeding surpriz'd with the Print of a Man's naked Foot on the Shore, which was very plain to be seen in the Sand: I stood like one Thunder-struck ...' Robinson Crusoe (1719) is one of the most famous adventure stories ever written. The account of a sailor shipwrecked on a desert island for twenty-eight years, it is also a tale of mythic proportions, an allegory, and a spiritual autobiography.L

Defoe’s The Farther Adventures of Robinson Crusoe was almost always published together with The Life and Strange Surprizing Adventures of Robinson Crusoe. Only after 1950 was the first volume printed alone—a shorter work for some classes. But in addition to fulfilling the promise of the first volume, The Farther Adventures is an exciting adventure novel by itself. Crusoe returns to his island to learn about his colony, and then travels to Madagascar, India, and China before returning to England after some exciting encounters. Complete with an introduction, line notes, and full bibliographical notes, this is an edition like no other. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Robinson Crusoe has been an international best-seller for three hundred years. This edition of the novel with its introduction, line notes, and full bibliographical notes provides a uniquely scholarly presentation of the novel. There has been no other edition like it.

First published in 1979, this title presents the basic facts and the background information needed by a modern reader of Robinson Crusoe, as well as a careful exploration of the structure and style of the work itself. Pat Rogers pays particular attention to the book’s composition and publishing history, the critical history surrounding it from 1719 onwards, and the contemporary context of geographical discovery, colonialism and piracy, as well as more controversial areas of interpretation. A wide-ranging and practical reissue, this study will be of value to literature students with a particular interest in the critical interpretation of Robinson Crusoe, as well as the novel’s place in the context of Defoe’s career.

This book explores significant problems in the fiction of Daniel Defoe. Maximillian E. Novak investigates a number of elements in Defoe’s work by probing his interest in rendering of reality (what Defoe called “the Thing itself”). Novak examines Defoe’s interest in the relationship between prose fiction and painting, as well as the various ways in which Defoe’s woks were read by contemporaries and by those novelists who attempted to imitate and comment upon his Life and Strange Surprizing Adventures of Robinson Crusoe decades after its publication. In this book, Novak attempts to consider the uniqueness and imaginativeness of various aspects of Defoe’s writings including his way of evoking the seeming inability of language to describe a vivid scene or moments of overwhelming emotion, his attraction to the fiction of islands and utopias, his gradual development of the concepts surrounding Crusoe’s cave, his fascination with the horrors of cannibalism, and some of the ways he attempted to defend his work and serious fiction in general. Most of all, Transformations, Ideology, and the Real in Defoe’s Robinson Crusoe and Other Narratives establishes the complexity and originality of Defoe as a writer of fiction.

Explores a major eighteenth-century narrative and the power of the Crusoe figure beyond the pages of the original book.

The adventures of Robinson Crusoe who was marooned on a desert island for twenty years.

Literary histories of the novel tend to assume that religion naturally gives way to secularism, with the novel usurping the Bible after the Enlightenment. This book challenges that teleological conception of literary history by focusing on scenes in seventeenth- and eighteenth-century fiction where the Bible appears as a physical object. Situating those scenes in wider circuits of biblical criticism, Bible printing, and devotional reading, Seidel cogently demonstrates that such scenes reveal a great deal about the artistic ambitions of the novels themselves and point to the different ways those novels reconfigured their readers' relationships to the secular world. With insightful readings of the appearance of the Bible as a physical object in fiction by John Bunyan, Daniel Defoe, Samuel Richardson, Sarah Scott, Frances Sheridan, and Laurence Sterne, this book contends that the English novel rises with the English Bible, not after it.