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  1. "It was the best of times" — Dickens's most famous sentence, unpacked
  2. "Every unhappy family is unhappy in its own way" — Tolstoy's opening sentence, examined
  3. "Call me Ishmael" — how Melville recruits his reader in three paragraphs
  4. "Mrs. Dalloway said she would buy the flowers herself" — Woolf's opening and the technique that changed fiction
  5. "All hope abandon" — Dante's gate and the grammar of judgment
  6. "The voice of the sea speaks to the soul" — Chopin's grammar of awakening
  7. "In a village of La Mancha": Cervantes introduces a hero by withholding him
  8. "Tell me, O Muse" — how The Odyssey begins before its hero has a name
  9. "I stand, no wiser than before": Faust's opening crisis of knowledge
  10. "The sky which gives light is blue": Tagore's lesson in inward beauty
  11. "It alone had been destitute": Cao Xueqin's rejected stone
  12. "Paradise enow": Khayyam's argument for the present
  13. "Come and sing with me": The Kalevala's invitation to inherited song
  14. "What a fine thing for our girls": Austen's market disguised as a maxim
  15. "The songs of the slave": Douglass and the sound mistaken for joy
  16. "You cannot light the house": Tagore's fire test for zeal
  17. "Forgotten all about the cuckoos": Sei Shōnagon's art of drifting
  18. "Get rid of your helmet": Flaubert's cap as social machinery
  19. "It makes me tired to follow it": Gilman's wallpaper as mental labor
  20. "He simply shrugged": Machado's unbelief without reasons
  21. "He had two lives": Chekhov's life under cover
  22. "A world of bad spirits": Equiano's grammar of terror
  23. "I have been your doll-wife": Nora names the playroom
  24. "Restore your arrow": Kalidasa stops the hunt
  25. "It is a mistake": Hugo's grammar of mercy
  26. "Moral geometry": Okakura's art of proportion
  27. "The dream vanished": Shelley's grammar of revulsion
  28. "The shadow swept": Du Bois builds the veil
  29. "A peace-mingling falsehood": Sa'di's moral grammar
  30. The Unwritten Epic: George Eliot on Lives Without a Stage
  31. "The force of truth": Socrates refuses the courtroom's costume
  32. "He cannot chuse but hear": Coleridge's grammar of enchantment
  33. "The Time Traveller": Wells makes a person into a hypothesis
  34. "The studio was filled": Wilde makes beauty a social instrument
  35. "The full African moon": Schreiner makes a landscape wait for life
  36. "Up we go!": Grahame lets spring interrupt the Mole

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