Daniel Defoe (/dɪˈfoʊ/; 13 September 1660[1] - 24 April 1731),[2] born Daniel Foe, was an English trader, writer, journalist, pamphleteer and spy. He is most famous for his novel Robinson Crusoe, which is second only to the Bible in its number of translations.[3] Defoe is noted for being one of the earliest proponents of the novel, as he helped to popularise the form in Britain with others such as Aphra Behn and Samuel Richardson, and is among the founders of the English novel.[4] Defoe wrote many political tracts and often was in trouble with the authorities, including prison time. Intellectuals and political leaders paid attention to his fresh ideas and sometimes consulted with him.

Defoe was a prolific and versatile writer, producing more than three hundred works[5]—books, pamphlets, and journals—on diverse topics, including politics, crime, religion, marriage, psychology, and the supernatural. He was also a pioneer of business journalism[6] and economic journalism.[7]

Written in a time when criminal biographies enjoyed great success, Daniel Defoe’s Moll Flanders details the life of the irresistible Moll and her struggles through poverty and sin in search of property and power. Born in Newgate Prison to a picaresque mother, Moll propels herself through marriages, periods of success and destitution, and a trip to the New World and back, only to return to the place of her birth as a popular prostitute and brilliant thief. The story of Moll Flanders vividly illustrates Defoe’s themes of social mobility and predestination, sin, redemption and reward.

This Modern Library Paperback Classic is set from the 1721 edition printed by Chetwood in London, the only edition approved by Defoe.

The recent adaptation of Moll Flanders for Masterpiece Theater is a book-lover's dream: the dialogue and scene arrangement are close enough to allow the viewer to follow along in the book. The liberties taken with the tale are few (some years of childhood between the gypsies and the wealthy family are elided; Moll is Moll throughout the tale, rather than Mrs. Betty; Robert becomes Rowland, etc.) and the sets avoid the careless anachronism of the movie version released earlier this year.

The breasts, raised skirts, tumbling hair and heavy breathing on the small screen might catch you by surprise if you don't read the book carefully (as might Moll's abandonment of her children on more than one occasion). Unlike his near-contemporary John Cleland (_Fanny Hill_), Defoe was trying to keep out of jail, and so didn't dwell on the details of "correspondence" between Moll and her varied lovers. But on the page and on the screen, Moll comes across quite clearly as a woman who might bend, but refuses to break, and who is intent on having as good a life as she can get.

E. M. Forster in Aspects of the Novel considers Moll and her creator's art in some detail. While he finds much to criticize in Defoe's ability to plot (where did those last two children go, anyway?), he is as besotted with Moll as I am. Immoral? Sure -- but immortal, and never, ever dull. We hope at least a few of the viewers of the recent adaptation take a couple hours to discover the original, inimitable Moll Flanders.