{"product_id":"madame-bovary-isbn-9780143123804","title":"Madame Bovary","description":"\u003cb\u003eFrom A to Z, the Penguin Drop Caps series collects 26 unique hardcovers—featuring cover art by type superstar Jessica Hische    \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIt all begins with a letter. Fall in love with Penguin Drop Caps, a new series of twenty-six collectible and gift-worthy hardcover editions, each with a type cover showcasing a gorgeously illustrated letter of the alphabet by superstar type designer Jessica Hische, whose work has appeared everywhere from Tiffany \u0026amp; Co. to Wes Anderson's film \u003ci\u003eMoonrise Kingdom\u003c\/i\u003e to Penguin's own bestsellers \u003ci\u003eCommitted \u003c\/i\u003eand \u003ci\u003eRules of Civility\u003c\/i\u003e. A collaboration between Jessica Hische and Penguin Art Director Paul Buckley,  the series design encompasses foil-stamped paper-over-board cases in a rainbow-hued spectrum across all twenty-six book spines and a decorative stain on all three paper edges. Penguin Drop Caps debuts with an “A” for Jane Austen’s \u003ci\u003ePride and Prejudice\u003c\/i\u003e, a “B” for Charlotte Brontë’s \u003ci\u003eJane Eyre\u003c\/i\u003e, and a “C” for Willa Cather’s \u003ci\u003eMy Ántonia\u003c\/i\u003e, and continues with more classics from Penguin. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eF is for Flaubert.\u003c\/b\u003e Emma Bovary is the original desperate housewife. Beautiful but bored, she is married to the provincial doctor Charles Bovary yet harbors dreams of an elegant and passionate life. Escaping into sentimental novels, she finds her fantasies dashed by the tedium of her days. Motherhood proves to be a burden; religion is only a brief distraction. In an effort to make her life everything she believes it should be, she spends lavishly on clothes and on her home and embarks on two disappointing affairs. Soon heartbroken and crippled by debts, Emma takes drastic action with tragic consequences for her husband and daughter.   When published in 1857, \u003ci\u003eMadame Bovary\u003c\/i\u003e was deemed so lifelike that many women claimed they were the model for its heroine. Today the novel is considered the first masterpiece of realist fiction. In this landmark translation of Flaubert’s masterwork, Lydia Davis honors the nuances and particulars of a style that has long beguiled readers of French, giving new life in English to the book that redefined the novel as an art form.Winner of the 2012 Fifty Books\/Fifty Covers show, organized by Design Observer in association with AIGA and Designers \u0026amp; Books\u003cbr\u003e\u003cbr\u003eWinner of the 2014 Type Directors Club Communication Design Award\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePraise for Lydia Davis's translation of \u003ci\u003eMadame Bovary\u003c\/i\u003e:\u003c\/b\u003e\u003cbr\u003e\"[Flaubert's] masterwork has been given the English translation it deserves.\"\u003cbr\u003e—Kathryn Harrison, \u003ci\u003eThe New York Times Book Review\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\"Dazzling . . . translated to perfect pitch . . . [Davis has] left us the richer with this translation. . . . I'd certainly say it is necessary to have hers.\"\u003cbr\u003e—Jacki Lyden, NPR.org, Favorite Books of the Year\u003cbr\u003e\u003cbr\u003e\"One of the most important books of the year . . . Flaubert's strict, elegant, rhythmic sentences come alive in Davis's English.\"\u003cbr\u003e—James Wood, \u003ci\u003eThe New Yorker\u003c\/i\u003e's Book Bench\u003cbr\u003e\u003cb\u003ePraise for Penguin Drop Caps:\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"[Penguin Drop Caps] convey a sense of nostalgia for the tactility and aesthetic power of a physical book and for a centuries-old tradition of beautiful lettering.\"\u003cbr\u003e—\u003ci\u003eFast Company\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Vibrant, minimalist new typographic covers…. Bonus points for the heartening gender balance of the initial selections.”\u003cbr\u003e—Maria Popova, \u003ci\u003eBrain Pickings\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\"The Penguin Drop Caps series is a great example of the power of design. Why buy these particular classics when there are less expensive, even free editions of \u003ci\u003eGreat Expectations\u003c\/i\u003e? Because they’re beautiful objects. Paul Buckley and Jessica Hische’s fresh approach to the literary classics reduces the design down to typography and color. Each cover is foil-stamped with a cleverly illustrated letterform that reveals an element of the story. Jane Austen’s A (\u003ci\u003ePride and Prejudice\u003c\/i\u003e) is formed by opulent peacock feathers and Charlotte Bronte’s B (\u003ci\u003eJane Eyre\u003c\/i\u003e) is surrounded by flames. The complete set forms a rainbow spectrum prettier than anything else on your bookshelf.\"\u003cbr\u003e—Rex Bonomelli, \u003ci\u003eThe New York Times\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\"Drool-inducing.\"\u003cbr\u003e—\u003ci\u003eFlavorwire\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\"Classic reads in stunning covers—your book club will be dying.\"\u003cbr\u003e—\u003ci\u003eRedbook\u003c\/i\u003eGUSTAVE FLAUBERT was born in Rouen in 1821, the son of a prominent  physician. A solitary child, he was attracted to literature at an early  age, and after his recovery from a nervous breakdown suffered while a  law student, he turned his total energies to writing. Aside from  journeys to the Near East, Greece, Italy, and North Africa, and a stormy  liaison with the poetess Louise Colet, his life was dedicated to the  practice of his art. The form of his work was marked by intense  aesthetic scrupulousness and passionate pursuit of le mot juste; its  content alternately reflected scorn for French bourgeois society and a  romantic taste for exotic historical subject matter. The success of \u003ci\u003eMadame Bovary\u003c\/i\u003e (1857) was ensured by government prosecution for “immorality”; \u003ci\u003eSalammbô \u003c\/i\u003e(1862) and \u003ci\u003eThe Sentimental Education\u003c\/i\u003e (1869) received a cool public reception; not until the publication of \u003ci\u003eThree Tales\u003c\/i\u003e  (1877) was his genius popularly acknowledged. Among fellow writers,  however, his reputation was supreme. His circle of friends included  Turgenev and the Goncourt brothers, while the young Guy de Maupassant  underwent an arduous literary apprenticeship under his direction.  Increasing personal isolation and financial insecurity troubled his last  years. His final bitterness and disillusion were vividly evidenced in  the savagely satiric Bouvard and Pécuchet, left unfinished at his death  in 1880.\u003cbr\u003e\u003cbr\u003eLYDIA DAVIS has been a MacArthur Fellow, National Book Award finalist,  and Chevalier of the Order of Arts and Letters. She was awarded the 2003  French-American Foundation Translation Prize for her translation of  Marcel Proust's \u003ci\u003eSwann's Way\u003c\/i\u003e and lives near Albany, New York.\u003cbr\u003e\u003cbr\u003eJESSICA HISCHE is a letterer, illustrator, typographer, and web  designer. She currently serves on the Type Directors Club board of  directors, has been named a \u003ci\u003eForbes Magazine\u003c\/i\u003e \"30 under 30\" in art and design as well as an ADC Young Gun and one of \u003ci\u003ePrint Magazine\u003c\/i\u003e's \"New Visual Artists\". She has designed for Wes Anderson, \u003ci\u003eMcSweeney's\u003c\/i\u003e, Tiffany \u0026amp; Co, Penguin Books and many others. She resides primarily in San Francisco, occasionally in Brooklyn.\u003cb\u003eChapter One\u003c\/b\u003eThe uncouth schoolboy; The Bovary household; A mother's ambitions; Studies with the cure; Training for medicine; Student life in Rouen; Failure and success; A practice in Normandy; The bailiff's widow; The first Madame Bovary.\u003cbr\u003e\u003cbr\u003eWe were in the prep-room when the Head came in, followed by a new boy in mufti and a beadle carrying a big desk. The sleepers aroused themselves, and we all stood up, putting on a startled look, as if we had been buried in our work.\u003cbr\u003e\u003cbr\u003eThe Head motioned to us to sit down.\u003cbr\u003e\u003cbr\u003e'Monsieur Roger,' said he in a quiet tone to the prep master, I've brought you a new boy. He's going into the second. If his conduct and progress are satisfactory, he will be put up with the boys of his own age. '\u003cbr\u003e\u003cbr\u003eThe new boy had kept in the background, in the corner behind the door, almost out of sight. He was a country lad of about fifteen, and taller than any of us. His hair was clipped straight across the forehead, like a village choirboy's. He seemed a decent enough fellow, but horribly nervous. Although he was not broad across the shoulders, his green cloth jacket, with its black buttons, looked as if it pinched him under the arms and revealed, protruding well beyond the cuffs, a pair of raw, bony wrists, obviously not unaccustomed to exposure. His legs, encased in blue stockings, issued from a pair of drab-coloured breeches, very tightly braced. He had on a pair of thick, clumsy shoes, not particularly well cleaned and plentifully fortified with nails.\u003cbr\u003e\u003cbr\u003eThe master began to hear the boys at their work. The newcomer listened with all his ears, drinking it in as attentively as if he had been in church, not daring to cross his legs or to lean his elbows on the desk, and when two o'clock came and the bell rang for dismissal, the master had to call him back to earth and tell him to line up with the rest of us.\u003cbr\u003e\u003cbr\u003eIt was our custom, when we came in to class, to throw our caps on the floor, in order to have our hands free. As soon as ever we got inside the door, we 'buzzed' them under the form, against the wall, so as to kick up plenty of dust. That was supposed to be 'the thing.' Whether he failed to notice this manoeuvre or whether he was too shy to join in it, it is impossible to say, but when prayers were over he was still nursing his cap. That cap belonged to the composite order of headgear, and in it the heterogeneous characteristics of the busby, the Polish shapska, the bowler, the otterskin toque and the cotton nightcap were simultaneously represented. It was, in short, one of those pathetic objects whose mute unloveliness conveys the infinitely wistful expression we may sometimes note on the face of an idiot. Ovoid in form and stiffened with whalebone, it began with a sort of triple line of sausage-shaped rolls running all round its circumference; next, separated by a red band, came alternate patches of velvet and rabbit-skin; then a kind of bag or sack which culminated in a stiffened polygon elaborately embroidered, whence, at the end of a long, thin cord, hung a ball made out of gold wire, by way of a tassel. The cap was brand-new, and the peak of it all shiny.\u003cbr\u003e\u003cbr\u003e'Stand up,' said the master.\u003cbr\u003e\u003cbr\u003eHe stood up, and down went his cap. The whole class began to laugh.\u003cbr\u003e\u003cbr\u003eHe bent down to recover it. One of the boys next to him jogged him with his elbow and knocked it down again. Again he stooped to pick it up.\u003cbr\u003e\u003cbr\u003e'You may discard your helmet,' said the master, who had a pretty wit.\u003cbr\u003e\u003cbr\u003eA shout of laughter from the rest of the class quite put the poor fellow out of countenance, and so flustered was he that he didn't know whether to keep it in his hand, put it on the floor or stick it on his head. He sat down and deposited it on his knees.\u003cbr\u003e\u003cbr\u003e'Stand up,' said the master again, 'and tell me your name.'\u003cbr\u003e\u003cbr\u003eIn mumbling tones the new boy stammered out something quite unintelligible.\u003cbr\u003e\u003cbr\u003e'Again!'\u003cbr\u003e\u003cbr\u003eAgain came the inarticulate mumble, drowned by the shouts of the class.\u003cbr\u003e\u003cbr\u003e'Louder!' rapped out the master sharply. 'Speak up!'\u003cbr\u003e\u003cbr\u003eWhereupon the boy, in desperation, opened his jaws as wide as they would go and, with the full force of his lungs, as though he were hailing somebody at a distance, fired off the word 'Charbovari.'\u003cbr\u003e\u003cbr\u003eIn an instant the class was in an uproar. The din grew louder and louder, a ceaseless crescendo crested with piercing yells--they shrieked, they howled, they stamped their feet, bellowing at the top of their voices: 'Charbovari! Charbovari!' Then, after a while, the storm began to subside. There would be sporadic outbreaks from time to time, smothered by a terrific effort, or perhaps a titter would fizz along a whole row, or a stifled explosion sputter out here and there, like a half-extinguished fuse.\u003cbr\u003e\u003cbr\u003eHowever, beneath a hail of 'impositions,' order was gradually restored. The master--who had had it dictated, spelled out and read over to him--had at length succeeded in getting hold of the name of Charles Bovary, and forthwith he ordered the hapless wretch to go and sit on the dunce's stool, immediately below the seat of authority. He started to obey, stopped short and stood hesitating.\u003cbr\u003e\u003cbr\u003e'What are you looking for?' said the master.\u003cbr\u003e\u003cbr\u003e'My ca--' began the new boy timidly, casting an anxious glance around him.\u003cbr\u003e\u003cbr\u003eAn angry shout of 'Five hundred lines for the whole class' checked, like the \u003ci\u003eQuos ego,\u003c\/i\u003e a fresh outburst. 'Stop your noise, then, will you?' continued the master indignantly, mopping his brow with a handkerchief which he had produced from the interior of his cap.\u003cbr\u003e\u003cbr\u003e ","brand":"Penguin Books","offers":[{"title":"Default Title","offer_id":46301556343013,"sku":"NP9780143123804","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780143123804.jpg?v=1767732029","url":"https:\/\/k12savings.com\/es\/products\/madame-bovary-isbn-9780143123804","provider":"K12savings","version":"1.0","type":"link"}