William Edward Norris - Novels

Novels

  • Heaps of Money (1877) aka From Poverty to Wealth
  • Mademoiselle de Mersac (1880)
  • Matrimony (1881)
  • No New Thing (1883)
  • Thirlby Hall (1883)
  • Adrian Vidal (1885)
  • A Bachelor's Blunder (1886)
  • My Friend Jim (1886)
  • Major and Minor (1887)
  • Chris (1888)
  • The Rogue (1888)
  • Miss Shafto (1889)
  • Mrs. Fenton (1889)
  • The Baffled Conspirators (1890)
  • Marcia (1890)
  • Misadventure (1890)
  • Miss Wentworth's Idea (1891)
  • Mr. Chaine's Sons (1891) aka The Brothers Three
  • His Grace (1892)
  • The Countess Radna (1893)
  • A Deplorable Affair (1893)
  • Matthew Austin (1894)
  • Saint Ann's (1894)
  • A Victim of Good Luck (1894)
  • Billy Bellew (1895)
  • Clarissa Furiosa (1897)
  • The Dancer in Yellow (1896)
  • The Fight for the Crown (1898)
  • Marietta's Marriage (1897)
  • The Widower (1898)
  • Giles Ingilby (1899)
  • The Flower of the Flock (1900)
  • The Embarrassing Orphan (1901) aka An Embarrassing Orphan
  • His Own Father (1901) aka The Distresses of Daphne
  • The Credit of the County (1902)
  • Lord Leonard the Luckless (1903)
  • Nature's Comedian (1904)
  • Nigel's Vocation (1904)
  • Barham of Beltana (1905) aka Payment in Full aka After Many Years
  • Lone Marie (1905)
  • Harry and Ursula (1907)
  • The Square Peg (1907)
  • Pauline (1908)
  • The Perjurer (1909)
  • Not Guilty (1910)
  • Vittoria Victrix (1911)
  • Paul's Paragon (1912)
  • The Right Honourable Gentleman (1913)
  • Barbara and Company (1914)
  • Troubled Tranton (1915) aka An Evil Inheritance
  • Proud Peter (1916)
  • Brown Amber (1917)
  • The Fond Fugitives (1917)
  • The Narrow Strait (1918)
  • The Obstinate Lady (1919)
  • The Triumphs of Sara (1920)
  • Tony the Exceptional (1921)
  • Sabine and Sabina (1922)
  • Next of Kin (1923)
  • The Conscience of Gavin Blane (1924)
  • Trevalion (1925)
  • Adrienne of Auxelles (1926)

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Famous quotes containing the word novels:

    “An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
    —George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)

    “The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don’t know—Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel—the quality of philosophy.”
    —Doris Lessing (b. 1919)