Moll Flanders (Barnes & Noble Classics Series)

Moll Flanders (Barnes & Noble Classics Series)


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Moll Flanders, by Daniel Defoe, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics:
  • New introductions commissioned from today's top writers and scholars
  • Biographies of the authors
  • Chronologies of contemporary historical, biographical, and cultural events
  • Footnotes and endnotes
  • Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work
  • Comments by other famous authors
  • Study questions to challenge the reader's viewpoints and expectations
  • Bibliographies for further reading
  • Indices & Glossaries, when appropriate
All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works.

One of the most determined, energetic, and lusty heroines in all of English literature, Daniel Defoe’s Moll Flanders will do anything to avoid poverty. Born in Newgate Prison, she was for twelve years a whore, five times a wife (once to her own brother), twelve years a thief, and eight years a transported felon in Virginia before finally escaping from the life of immorality and wickedness imposed on her by society. She is as much a survivor, and just as resourceful, as Defoe’s other great literary creation, Robinson Crusoe.

Celebrated as “a masterpiece of characterization” by E. M. Forster, Moll Flanders is both a cunning examination of social morés and a hugely entertaining story filled with scandalous sexual and criminal adventures. In Moll, Defoe created a character of limitless interest, in spite of her unconcealed ethical shortcomings. Taking Moll through the echelons of eighteenth-century English society, Defoe seldom moralizes as he champions the personal qualities of self-reliance, perseverance, and hard work—even when it takes the form of crime.

Michael Seidel is a Jesse and George Siegel Professor in the Humanities at Columbia University. He has written widely on eighteenth-century literature, especially on satire and on the early novel.

Product Details

ISBN-13: 9781593082161
Publisher: Barnes & Noble
Publication date: 02/01/2005
Series: Barnes & Noble Classics Series
Pages: 368
Sales rank: 43,179
Product dimensions: 5.18(w) x 8.00(h) x 0.92(d)

About the Author

London-born Daniel Defoe (1660-1731) pursued a variety of careers including merchant, soldier, secret agent, and political pamphleteer. He wrote books on economics, history, biography, and crime. But he is best remembered for his fiction, which he began to write late in his life and which includes the novels Moll Flanders, Roxana, and the celebrated Robinson Crusoe.

Read an Excerpt

From Michael Seidel’s Introduction to Moll Flanders

Moll’s particular adventures had their antecedents in the lives of other infamous woman criminals with full narrative records of their adventures, such as Francis Kirkman’s The Counterfeit Lady Unveiled. Being a full Account of the Birth, Life, Most Remarkable Actions, and Untimely Death of Mary Carleton, Known by the Name of the German Princess (London, 1673). As Moll herself puts it, “My course of life for forty years had been a horrid compilation of wickedness, whoredom, adultery, incest, lying, theft; and, in a word, everything but murder and treason.” The narrative line of the book tracks the introduction of a young woman into a life of crime, the honing and schooling of the criminal, the capture and transportation of the criminal to America, and the first steps in confessional reformation.

Defoe identifies his primary genre in the “Author’s Preface” to Moll when he calls her story a “private history.” By that he means a memoir, and Defoe is quick to distinguish his work from what he calls “novels and romances,” but what Defoe means by novels and romances is not what we mean today. For early-eighteenth-century readers, novels were the unlikeliest of adventures, usually set in past times or remote and idealized places. They were marked by improbability and a suspension of the normal laws of nature and behavior. Private histories, on the other hand, were more like today’s novels. They provide readers access to aspects of a lived life that are usually hidden or unrecorded. What Defoe promises is a kind of voyeuristic biography or prose scandal, and he understands the likely “relish” of his readers for Moll’s “account of all her vicious practices” and “all the progressions of crime which she ran through in three-score years.” The mimetic impetus of Moll Flanders is set from the editor’s words in the beginning when we learn that the original manuscript is “written in language more like one still in Newgate than one grown penitent and humble.”

The editor then throws a sop to his readership by claiming that a beneficial morality can worm its way out of even the “worst story.” For those readers who demand moral uplift, the book is not only a criminal confession but a spiritual confession. Defoe says Moll Flanders is a book “from every part of which something may be learned.” For that process to take full effect, the reader has to believe in the authenticity of Moll’s spiritual life, and that turns out to be something of a stretch for any but the committed Christian apologist who will follow the editor in applying to all the “levity and looseness” in the book “virtuous and religious uses.”

As for the essence of the confessional genre, Moll explains its impulse when she tells the story late in the narrative of a thief who could not rest easily until he had unburdened himself by confessing in his sleep all the crimes he had committed the previous evening. Moll points out the general alliance of the confessional and the criminal when she notices the number of thieves in her world “obliged to disclose the greatest secrets either of their own or other people’s affairs.” Her observation helps explain not only the shape of the particular story she tells, but the impetus of all fiction, at least as it developed from the early eighteenth century to modern times. Novelists, as much as criminals, feel the need to reveal secrets, especially when those secrets involve “other people’s affairs.”

Confession allows Moll to recapitulate her story, an epitome of which we see when she “unlocked all the sluices of my passions” to the minister in Newgate Prison. The hope is that her criminal resumé can also be the first step in her repentance: “In a word, I gave him an abridgment of this whole history; I gave him the picture of my conduct for fifty years in miniature.” The idea of criminal autobiography is to lay everything out in deliberate sequence; the idea of confession is to get all bad things to the rear as quickly as possible. Moll does both in her narrative, though her criminality—in terms of the narrative space allowed it—seems to overwhelm her confession. The editor at the beginning refers to Moll’s penitent humility as a state in which she “pretends to be.” Eighteenth-century usage allows the word pretend a certain neutrality, a mere showing forth or revealing. But for Moll, “pretend” takes on the very obvious quality of “temporary.”

When Defoe fictionalizes the life of Moll Flanders and all her pretenses, he not only borrows from popular criminal biographies but also from the tradition of Continental picaresque, or rogue, literature, which became popular throughout Europe with the publication of Lazarillo de Tormes (1554) in Spain. Picarós and picarás are orphans, vagabonds, desperadoes, and reprobates trying to manipulate the conventions of a world largely determined by established family and class connections. As Moll puts it, “I understood too well, by the want of it, what the value of a settled life was.” Picaresque fiction is the story of outsiders trying to get in, and the fortunes of the protagonist often depend on adaptable, protean, and duplicitous behavior as picaresque characters become who they need to be to survive.

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Moll Flanders (Barnes & Noble Classics Series) 3.6 out of 5 based on 0 ratings. 129 reviews.
Kiwikay More than 1 year ago
After watching an old BBC mini-series ( with a young Daniel Craig no less!) I decided to re-read Moll Flanders. I had forgotten the biting wit and social commentary of Daniel Defoe. Almost three centuries later it still seems relavent. Thoroughly enjoyed it. Takes some commitment to get through the somewhat pendantic writing style of the era but well worth it. If you once read Moll Flanders because you had to, try it again. Like me you may find it enjoyable this time.
DeeDee10 on LibraryThing More than 1 year ago
What can I say about Moll Flanders? This book really makes you look at the life of women in the past. Moll does a lot of things that will make you go what!? I enjoyed it because it is a book that can be analyzed and interpreted in so many ways. Moll becomes a survivor in a world that she was made to fail in.
MissWoodhouse1816 on LibraryThing More than 1 year ago
This is traditionally considered the first English novel. Moll Flanders presents an interesting picture of a deeply flawed woman. Though the story is fictitious, the reader is encouraged to think of it and read it as one would a memoir. Defoe allows his main character to give herself a pseudonym, since ostensibly her reputation is so horrible as to taint those who would admit to knowing her. Indeed, the crimes and follies to which Moll stoops through the course of the narrative justify her use of an assumed name. Her life is incredibly flawed- yet she does little to improve her situations and reputation.Through various revelations and circumstances, Moll's life falls into ruin and decay. She marries several times, but no marriage provides financial security. Any children of hers that survive she pawns off on relatives to have no added responsibility. Chiefly, she thinks nothing about stealing and the life of theft she is living. Through the narrative, she mentions her shady acquisitions with a careless offhandedness that is morally disturbing. When forced to think about the course her life is now taking, Moll denies any wrongdoing on her part. Even when her recklessness in thievery lands her in jail, Moll has no regrets for the life she is living.Despite the lack of chapters, Moll Flanders is an interesting read for many reasons- character development, social commentary, and the maturing of a new writing style being a few.
dgrayson on LibraryThing More than 1 year ago
like having a conversation with someone who never lets you get a word in
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Really enjoyed this book. I could not put it down.
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Another great classic.
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AnnieBM More than 1 year ago
A poet friend got me this book because it was one of her favorites. I admit it took me a bit to get into it. But it is quite a story and bears a lot of reflection. I really enjoyed the story -- all the challenges in life that Moll has and meets. A resourceful, wise, and practical woman can survive anything. I highly recommend this to all women.
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