Read the contemporaneous, overwhelmingly negative reviews of Emily Brontë's 'Wuthering Heights,' which is now considered a classic 19th-century novel.

Just because something's considered a "classic" doesn't mean it's universally loved. Even the world's most respected writers don't agree on what defines great literature. Look no further than this list of writers criticizing canonical texts, like Charlotte Brontë deriding Jane Austen's "Pride and Prejudice" or Virginia Woolf on James Joyce's "Ulysses." The most succinct might be Aldous Huxley on Jack Kerouac's "On the Road": "I got a little bored after a time. I mean, the road seemed to be awfully long."

The writer was known for lambasting popular writers of his time, including Jane Austen and Robert Louis Stevenson. One of his most famous takedowns is “Fenimore Cooper’s Literary Offences,” an essay that simultaneously mocks Cooper’s popular adventure tales and satirizes the pretentiousness of literary criticism. Remarking on Cooper’s novel “The Deerslayer,” Twain wrote, “its conversations are—oh! Indescribable; its love-scenes odious; its English a crime against the language.”

Twain was no fan of the novelist, calling her work "impossible." In an 1898 letter to a friend, Twain wrote, "Everytime I read 'Pride and Prejudice' I want to dig her up and beat her over the skull with her own shin-bone."

The 1740 novel will likely strike modern readers as odd, to say the least. Its titular character, a 15-year-old maidservant, is harassed by her boss, who finally changes his ways and asks for her hand in marriage, which is presented as a happy ending. As this analysis of the text makes clear, though, "Pamela" established a template for the romance genre, even if contemporary writers have been happy to break it.

In this brief interview, Terry Castle, an English professor at Stanford, explains the origins of the early British novel. Castle details how the novel was produced for a newly literate middle class interested in recognizable characters and stories “about life as they knew it” rather than Greek and Roman myths or medieval romances. She also explains why a newly enfranchised female demographic was attracted to the fiction of writers like Jane Austen and Virginia Woolf.

In 19th-century England, novel-writing was considered unseemly, especially for women. Considering that, Austen's father and brother dealt directly with Jane's publishers. The author's name, meanwhile, was not attached to her books: "Sense and Sensibility," her first published novel, was simply labeled as being "By a Lady."

In 1801, Austen's father retired and abruptly moved the family from Steventon to Bath. Austen loathed her new home, but she used it as the setting for pieces of her novels "Persuasion" and "Northanger Abbey." "The scandals and shallowness of the city fueled her cynicism and wit; nothing escaped her scathing pen," an exhibition on Austen from the Bath Preservation Trust explained.

The 1972 Kathleen E. Woodiwiss novel helped create the romance subgenre featuring historical settings and intense, steamy sex scenes. It was an under-the-radar sensation, quietly selling millions of copies while simultaneously courting controversy for its portrayals of rape. In this essay, Jeannette Cooperman revisits the book to see how it reads 50 years after its publication.

Though the nonfiction novel "In Cold Blood" is often cited as the beginning of the true crime genre, records show that true crime narratives were woven for decades before the novel's 1965 serialization. In "A Memorable Murder," Thaxter recounts the slaughter of her neighboring New England islanders.

This article explore the controversial history of DH Lawrence's novel "Lady Chatterley's Lover." Learn about how it was banned in several countries and the six-day trial in the UK that lifted the ban. Soon after going on sale, the novel became a bestseller and a significant cultural touchstone.

Although the novelist is sometimes dismissed as a romance writer, her stories feature pointed societal critiques, especially of women's limited options and challenged popular notions that women were subservient and passive.

Zora Neale Hurston's "Their Eyes Were Watching God" is now considered one of the masterpieces of the Harlem Renaissance, though some in the movement criticized it when it was released in 1937. Both Alain Locke and the writer Richard Wright felt that Hurston's novel lacked depth. Wright was particularly harsh, writing that "her novel carries no theme, no message, no thought. In the main, her novel is not addressed to the Negro, but to a white audience whose chauvinistic tastes she knows how to satisfy."

Both her books and adaptations of them for film continue to sell, with 2025 seeing the highest book sales since 2009. Critics claim her deep, witty exploration of relationships and social norms are the basis of her enduring relevance.

The classic monster story is a richly philosophical tale about the role of technology, written by Shelley at the age of 18. This podcast episode explores Shelley's deeper intentions with the story and debunks some of the popular misconceptions about its plot and meaning.

James Joyce’s 1922 epic, “Ulysses,” might be the most intimidating of the modernist movement's many famous novels. It’s a lengthy tome and incredibly dense, written in a stream-of-consciousness style that many readers find impenetrable. Others, however, find it transcendent. This travelogue was written by a reporter traveling to Dublin for Bloomsday, the annual holiday celebrating the novel, who wants to understand why so many people are so drawn to something so esoteric.

After the success of 19th-century books like Mary Shelley’s “Frankenstein” and Robert Louis Stevenson’s “The Strange Case of Dr. Jekyll and Mr. Hyde,” readers were eager for more stories that deviated from realism. Early 20th-century texts like George MacDonald’s “Phantastes” and Lord Dunsany’s “The King of Elfland’s Daughter” met the moment, laying the groundwork for the fantasy genre.

Ever the ironist, Twain claimed to have “ no liking for novels or stories.” Obviously, that was untrue: He read widely, devouring books by Charles Dickens, slave narratives, and texts on astronomy. He also loved John Milton’s “Paradise Lost,” which he called “something everybody wants to have read and nobody wants to read.”

The "It Ends With Us" author is one of the most successful contemporary writers in American literature; she's also one of the most derided. Elizabeth Kaye Cook and Melanie Jennings argue that the criticism is mostly unfounded and that literary types should embrace more commercial authors like Hoover.

In this podcast, the New Yorker's Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss their favorite Austen novels in celebration of the legendary writer's 250th birthday. Fans of Austen will appreciate the spirited discussion of what distinguishes her masterworks from her lesser works, but even newcomers will get a solid overview of what the writer offers readers.

Dickinson wrote about 1,800 poems during her life, though the bulk of them weren't published until after her death in 1886. This collection from the Academy of American Poets brings together many of her most important (but untitled) works, which you can search by their first lines.

The review of "The Beautiful and the Damned" might have been comedic, but it was also illuminating, allowing Zelda to acknowledge her husband's tendency to use material from her diaries in his fiction and interrogate the way female characters were often portrayed in novels written by men.

Modernist writers in the early 20th century sought to capture the complexities of the human mind in their fiction. Novelists like Virginia Woolf, James Joyce, Jean Rhys, and William Faulkner experimented with the form by using unconventional approaches to narrative, time, and structure. This lecture from Dr. Madeleine Davies from the University of Reading explains how modernists revolutionized fiction, using Woolf’s “Mrs. Dalloway” as a primary example.

Austen wrote six novels, four that were published anonymously while she was alive ("Sense and Sensibility," "Pride and Prejudice," "Mansfield Park," "Emma") and two that were published posthumously, under her own name ("Northanger Abbey" and "Persuasion"). This guide, with annotations from Arizona State University professor Devoney Looser, breaks down each book's story and significance, making it an excellent primer for Jane-curious readers.

Twain’s most famous novel was first banned in March 1885. Librarians in Concord, Massachusetts, called it “suitable only for the slums.” Since then, it’s been banned many more times, mostly because of how it deals with race. In recent decades, its use of the N-word, has led to its removal.

In 1955, Thomas Johnson edited the first complete edition of Dickinson's poetry, using the original handwritten manuscripts as his guide. Unlike previous editors, Johnson allowed Dickinson's unique choices to remain. The collection established her as a singular, innovative voice, a reputation that only continued growing through the decades.

Asimov, the author of the "Foundation" series and a major figure in science fiction, tore Orwell's novel apart in a 1980 review, writing, "This is not science fiction, but a distorted nostalgia for a past that never was."

Researchers at the University of Nebraska-Lincoln translated Austen's novels into code to analyze her diction, then published their findings in a searchable database. Users can explore all six of her novels, analyzing the unique words used by her characters and the narrative techniques she employs.

This feature from the Guardian takes a unique approach to Austen's literature, breaking her life, work, and fandom down into data. The slide deck includes comparative analyses of character employment, net worth, and age. Below is a breakdown of Austen's unexpected posthumous rise to fame.

Before “Leaves of Grass” there was “Franklin Evans,” a novel about a young man whose drinking ruins his life. Whitman all but disowned the novel for the rest of his life, though critics note that he preached teetotaling throughout his life.

Camus' book's themes—alienation, transgression, and existentialism—continue to resonate with adolescent reader. That's also true of other popular teenage touchstones, like Aldous Huxley's "Brave New World," George Orwell's "Nineteen Eighty-Four," and Sylvia Plath's "The Bell Jar," which are still widely read—and assigned by high school teachers.

Few novels have been as influential as Mary Shelley’s “Frankenstein.” The 1818 novel is considered the first science fiction novel and a cornerstone of the horror genre. The text has also been widely adapted for the screen and is responsible for at least two major archetypes: the creature and the mad scientist.

When O'Connor secured a publisher for "Wise Blood," her publisher envisioned it as a broad, commercial comedy, something Lowell—the accomplished poet whom she met after graduate school at Yaddo, an artist colony in upstate New York—suggested she avoid, encouraging her to lean into her more esoteric and darker interests. This interview with O'Connor biographer Brad Gooch elaborates on that advice.

The "Howl" obscenity trial is one of the most significant in American publishing, affirming that material with the "slightest redeeming social importance" cannot be considered "obscene." In the process, it permits artists, like Allen Ginsberg, to use the language they see fit to express themselves.

In her essay “On the Supernatural in Poetry,” gothic novelist Ann Radcliffe defined “terror” as the lurking, unseen specter in a story—something that defined gothic literature. “Horror,” on the other hand, was the explicit portrayal of it. For her, the former was artistic, while the latter was cheap.

Dickinson remains widely read and is often considered one of American literature's greatest poets. This short documentary from PBS uses a 2017 museum exhibition on the writer to explore her long-lasting impact, with input from Barbara Howe, a contemporary poet, and Marta Werner, a Dickinson scholar.

The first editors of Dickinson's posthumous collection of poetry heavily amended her work, making her private letters and drafts more valuable for what many perceive to be her more raw, unadulterated voice. Cristanne Miller, the editor of "The Letters of Emily Dickinson," discusses their importance and why so many of them were destroyed after Dickinson's death.

This deep dive into Dickinson's biography includes a fascinating anecdote about her time at Mount Holyoke Female Seminary—where she was distinguished from the "established Christians" and deemed "without hope"—as well as the significance of her correspondence with close friend Susan Gilbert, one of her primary readers and eventual sister-in-law.

The Jane Austen 250th celebration sold 15,000 tickets to the writer's most dedicated fans, who dressed in period-specific dress. Austen scholar Devoney Looser says that many readers are attracted to Austen's novels because they're entertaining and funny yet sophisticated works of social criticism.