This image is the cover for the book The Eagle's Shadow, Classics To Go

The Eagle's Shadow, Classics To Go

The Eagle’s Shadow (1904) is the debut novel of James Branch Cabell, a master of fantasy fiction and an underrated figure of twentieth-century American literature. Most of the novel’s action occurs at Selwoode, a recently built mansion located in the English countryside. Following the death of her uncle Frederick, Margaret Hugonin finds herself his unlikely heiress, and is thrust into a life she could not have prepared for even if she had managed to imagine it in the first place. As she faces down suitor after suitor while enduring a routine of lessons on philanthropy, culture, and charity, she navigates the complexities of her love for Billy Woods, her cousin through marriage and the nephew of Selwoode’s deceased scion, Frederick. Throughout the story, the eagle—both Frederick’s chosen heraldic animal and a symbol of power—looms over their relationship. The ill-gotten nature of the family fortune—acquired through the exploitation enabled by imperialism and solidified in the shadows of Wall Street—threatens to destroy not only their love, but their entire world. The Eagle’s Shadow, a novel at times tragic and comedic, is a brilliant and bold social critique masquerading as romance, and a literary work for all time.

James Branch Cabell

James Branch Cabell; (April 14, 1879 – May 5, 1958) was an American author of fantasy fiction and belles-lettres. Cabell was well-regarded by his contemporaries, including H. L. Mencken, Edmund Wilson, and Sinclair Lewis. His works were considered escapist and fit well in the culture of the 1920s, when they were most popular. For Cabell, veracity was "the one unpardonable sin, not merely against art, but against human welfare." Although escapist, Cabell's works are ironic and satirical. Mencken disputed Cabell's claim to romanticism and characterized him as "really the most acidulous of all the anti-romantics. His gaudy heroes ... chase dragons precisely as stockbrokers play golf." Cabell saw art as an escape from life, but found that, once the artist creates his ideal world, it is made up of the same elements that make the real one

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