Tertuliano Máximo Afonso é professor de História. Ao visionar um filme banal que um colega de matemática lhe recomendara descobre que um dos actores é um seu sósia. O argumento do livro é a sua demanda, e depois confronto com o actor que é seu duplicado. Uma história que se lê de um fôlego e na qual Saramago se revela mestre do suspense. Romance que nos faz lembrar um thriller onde o autor aborda questões ligadas à identidade (e a falta dela).

Na contracapa: "O caos é uma ordem por decifrar" Livro dos contrários

Эксперт по живописи попадает на выставку памяти гениального мексиканского художника Себастьяна Родригеса, наследника искусства Сикейроса и Ороско, но выставка оказывается поминками...

Jedna z wielkich powieści XX wieku, sprzedana w ponad 20 milionach egzemplarzy, wsławiona obsypanym Oscarami filmem Francisa Forda Coppoli z genialną rolą tytułową Marlona Brando. Opowieść o honorze i nienawiści, szacunku i pogardzie, miłości i śmierci. Motto książki stanowi cytat z Balzaca – Za każdą wielką fortuną kryje się zbrodnia. Don Vito Corleone jest Ojcem Chrzestnym jednej z sześciu nowojorskich Rodzin mafijnych. Tyran i szantażysta (słynne powiedzenie "mam dla Ciebie propozycję nie do odrzucenia"), a zarazem człowiek honoru, sprawuje rządy żelazną ręką. Jego decyzje mają charakter ostateczny. Wśród swoich wrogów wzbudza respekt i strach, wśród przyjaciół – zasłużony, choć nie całkiem bezinteresowny szacunek. Kiedy odmawia uczestnictwa w nowym, intratnym interesie – handlu narkotykami – wchodzi w ostry, krwawy konflikt z Cosą Nostrą. Honor rodziny może uratować tylko Michael – najmłodszy, ukochany syn Vita, bohater wojenny. Czy okaże się godnym następcą Ojca Chrzestnego?

A ferocious political satire in the great tradition, Our Gang is Philip Roth’s brilliantly indignant response to the phenomenon of Richard M. Nixon.

In the character of Trick E. Dixon, Roth shows us a man who outdoes the severest cynic, a peace-loving Quaker and believer in the sanctity of human life who doesn’t have a problem with killing unarmed women and children in self-defense. A master politician with an honest sneer, he finds himself battling the Boy Scouts, declaring war on Pro-Pornography Denmark, all the time trusting in the basic indifference of the voting public.

One Man's Bible is the second novel by Nobel Prize-winning author Gao Xingjian to appear in English. Following on the heels of his highly praised Soul Mountain , this later work is as candid as the first, and written with the same grace and beauty.

In a Hong Kong hotel room in 1996, Gao Xingjian's lover, Marguerite, stirs up his memories of childhood and early adult life under the shadow of Mao Zedong and the Cultural Revolution. Gao has been living in self-imposed exile in France and has traveled to this Western-influenced Chinese city-state, so close to his homeland, for the staging of one of his plays.

What follows is a fictionalized account of Gao Xingjian's life under the Communist regime. Whether in "beehive" offices in Beijing or in isolated rural towns, daily life is riddled with paranoia and fear, as revolutionaries, counterrevolutionaries, reactionaries, counterreactionaries, and government propaganda turn citizens against one another. It is a place where a single sentence spoken ten years earlier can make one an enemy of the state. Gao evokes the spiritual torture of political and intellectual repression in graphic detail, including the heartbreaking betrayals he suffers in his relationships with women and men alike.

One Man's Bible is a profound meditation on the essence of writing, on exile, on the effects of political oppression on the human spirit, and on how the human spirit can triumph.

***

One Man's Bible belongs to that sad class of books sold on the strength of their authors having won a prize. But a prize is rather a thin argument for reading it, especially in a wooden English translation. Does one want to know more about Gao Xingjian than his first novel translated into English, Soul Mountain, told? That book had just enough exotic colour to survive its translation; from its portentous title onwards, One Man's Bible has much less going for it. It needs more story, structure, people, situations, atmosphere, ideas – anything strong enough to come through the obscuring veil of alien words.

When, in 2001, Gao became the first Chinese writer to win a Nobel prize for literature, it came as a surprise. The Chinese literary bureaucrats – today's counterparts of the strange Soviet creatures in Bulgakov's The Master and Margarita – had long been pushing for one of their trusties to win. Gao was certainly not one of those, but neither was he prominent in any of the exiled literary cliques. Since being driven to leave China in the 1980s he had been living in France, writing supposedly experimental, sub-Beckettian plays with Chinese characteristics that some critics in the Chinese-speaking world thought worth discussing. These plays also suited small, subsidised European theatre companies in search of uncommercial exotica full of the timeless wisdom of the east. While still in China, Gao was best known for Bus Stop, a one-acter about people waiting for a bus that never came. What delighted audiences and infuriated the authorities when the play appeared some 20 years ago was its apparent implied message: the never-arriving bus was the wonderful future that the regime promised but could not deliver.

Soul Mountain was fiction in the form of an autobiography (or vice versa) that told a fragmented tale of a writer on the run in the wilder reaches of the Yangtze valley. The background chimed with Gao's own flight from the thought police, as well as being a celebration of "authentic" China surviving 40 years of the party state in remote and picturesque areas. There was quite a lot of sex, too.

One Man's Bible also invites us to read its central character, again an author, as an alter ego of Gao's. As he looks back from cosmopolitan exile in the present – the book was written in the late 1990s – on his life in China, this author makes much of feeling uncomfortable, and wallows in sententiousness. The book starts with a bourgeois childhood before the Communists seized power in 1949 (when the real Gao was eight or nine), moving on to his family's and his own troubles in the unending series of political campaigns that ran through the Mao era and its aftermath. Much of it deals with the cultural revolution, with our hero as participant as well as victim in a hellish process, and with how all this made him what he is now. Between the earlier life and the recent past there is a gap where Soul Mountain might fit.

Like Gao, the central figure in One Man's Bible is an exile based in France who writes fiction and drama in his own language. He enjoys the freedom not to be caught up in politics, and wonders how he came to be what he is. Invitations to events on the international cultural circuit give us scenes in Hong Kong, Sydney, New York, Perpignan and elsewhere, all of which are much the same. None of it seems to matter very much in comparison with the seriously deranged political movements of his youth which, though hindsight tells him they were wrong, he savours the discomfort of remembering.

If Soul Mountain explored China and Chineseness, One Man's Bible is all about enjoying feeling guilty, but not too guilty. It is about not being at home anywhere, not even in your own skin, and making the best of it; about the middle-aged worry over what you were when you were younger. As the central figure looks back over his life, he tries to accept the great realisation that it hasn't meant anything. Yet for all his attempts to be sophisticated, he can't help but feel disappointed at the pointlessness of life. He has not got over the Maoist urge to preach, though it is now a different sermon.

In the past 20 years, having a hard time under the Communist party dictatorship has been the stuff of a commercially flourishing genre of autobiographical writing in English by people, especially women, who have got out. Gao is not into that sort of soppy stuff. His fiction has rather more in common with a newer popular sub-genre of Chinese fiction for foreign readers: unillusioned fucklit, by younger women writers. The China his central character has left was an awful place, but one that gave him access to plenty of women's bodies. The west has given him freedom and more women for his bed, but not happiness or meaning. It has allowed him to hold forth on life and art, even if what he has to say is banal.

As a self-conscious follower of European modernism, Gao does not give us this fictional life in a chronological sequence. He assumes that readers can find their way through the cut-up narrative of the cultural revolution, picking up references as Chinese people of his generation will be able to. Yet most foreigners will simply be confused. They are more likely to follow the novel through the unending couplings with which its subject tries to fill the voids in his past and present lives. We start with a German-Jewish woman in Hong Kong, where one of his plays is being staged. There is another in France, and others collected elsewhere on his travels, as well as the various sexual partners in his earlier life in China. But on the whole, the bodies do not seem to have brains.

The ideas in One Man's Bible are commonplace, its characters are ciphers, and it is not redeemed by wit, grace or self-mockery. Its solipsism is banal. I hope we will not have to endure a third novel in this series on the splendours and miseries of being a Nobel prize-winner.

WJF Jenner is a translator and expert on Chinese writing.

One Man's Bible is the second novel by Nobel Prize-winning author Gao Xingjian to appear in English. Following on the heels of his highly praised Soul Mountain , this later work is as candid as the first, and written with the same grace and beauty.\

In a Hong Kong hotel room in 1996, Gao Xingjian's lover, Marguerite, stirs up his memories of childhood and early adult life under the shadow of Mao Zedong and the Cultural Revolution. Gao has been living in self-imposed exile in France and has traveled to this Western-influenced Chinese city-state, so close to his homeland, for the staging of one of his plays.

What follows is a fictionalized account of Gao Xingjian's life under the Communist regime. Whether in "beehive" offices in Beijing or in isolated rural towns, daily life is riddled with paranoia and fear, as revolutionaries, counterrevolutionaries, reactionaries, counterreactionaries, and government propaganda turn citizens against one another. It is a place where a single sentence spoken ten years earlier can make one an enemy of the state. Gao evokes the spiritual torture of political and intellectual repression in graphic detail, including the heartbreaking betrayals he suffers in his relationships with women and men alike.

One Man's Bible is a profound meditation on the essence of writing, on exile, on the effects of political oppression on the human spirit, and on how the human spirit can triumph.

***

"Admirable dramatic intensity… valuable for its vivid piecemeal picture of 20th-century China 's culture of revisionist egoism, paranoia and repression."

– Kirkus Reviews

"Unforgettable… One Man's Bible burns with a powerfully individualistic fire of intelligence and depth of feeling."

– New York Times

"A remarkable achievement."

– Christian Science Monitor

"One Man's Bible… has come to claim its place as a powerful narrative… of the Cultural Revolution's insidious, corrosive terror."

– New York Times Book Review

"Captivating… a beautifully stirring account of life in an era of political oppression…[One Man's Bible] is an important book,"

– Fort Worth Star-Telegram

"[Gao] paints a stark, unforgiving picture of the results of Mao's regime and of the Cultural Revolution."

– Denver Post

"If the hallmark of a good novel is its ability to transport the reader, willing or not, into unfamiliar or uncomfortable territory, then this novel is a success."

– Denver Post

Chief Bromden, half American-Indian, whom the authorities believe is deaf and dumb, tells the story of a mental institution ruled by Big Nurse on behalf of the all-powerful Combine. Into this terrifying grey world comes McMurphy, a brawling gambling man, who wages total war on behalf of his cowed fellow-inmates. What follows is at once hilarious and heroic, tragic and ultimately liberating. Since its first publication in 1962, Ken Kesey’s astonishing first novel has achieved the status of a contemporary classic. “Kesey can be funny, he can be lyrical, he can do dialogue, and he can write a muscular narrative. In fact there's not much better come out of America in the sixties… If you haven’t already read this book, do so. If you have, read it again” – Douglas Eadie, “Scotsman”.

Otra faz en la narrativa de Gabriel García Márquez. Casi todas las obras de este gran autor se caracterizan por la presencia simultánea de ámbitos aparentemente alejados entre sí. -Además de lo onírico y de la rareza individual- escribe Mario Vargas Llosa a propósito de García Márquez- en este mundo en que lo social, lo político y otros niveles objetivos (como el sexo) parecen arrolladores, tienen cabida hechos y situaciones que por su carácter insólito y pintoresco contrastan con los hechos opresivos, obvios y monótonos que constituye en la vida cotidiana… y sugieren la existencia de "otra" realidad, menos previsible, en la que reinan la fantasía, la extravagancia, cierto tipo de humor. "En ojos de perro azul" el buceo de García Márquez en esa "otra" realidad es hondo y vertiginoso. Ya no se trata de revelarnos un aspecto de realidad placentero y risueño. García Márquez nos enfrenta con esa presencia inevitable que es la muerte, descubriéndola como una parte gemela de nuestro vivir. la muerte vislumbrada en los sueños y luego conocida como experiencia total del alma y del cuerpo la muerte como una constante inminencia que nos revela hasta qué punto nuestro propio ser está formado por aspectos distintos y nunca imaginados.

Orgullo y prejuicio es la historia del señor y la señora Bennet, sus cinco hijas, y varias aventuras románticas en su residencia Hertfordshire de Longbourn.

Los caracteres de los padres son contrastados enormemente: el señor Bennet es un caballero sabio e ingenioso, mientras que la señora Bennet está permanentemente preocupada por la cuestión del casamiento de sus hijas a cualquier coste. La razón de esta obsesión es porque su patrimonio pasará por ley después de la muerte de su esposo, a su pariente de sangre más cercano: su primo, Guillermo Collins, un hombre fatuo, indiscreto y pomposo.

La historia de Austen cobra emoción con la llegada del joven soltero y rico Charles Bingley y su amigo Fitzwilliam Darcy.

Esta es una historia de sentimientos, afectos, fingimientos, y la relación tempestuosa de Darcy con Elizabeth Bennet a la que Jane Austen reclamó como su favorita entre sus descendientes literarias.

La primera versión, en 1797, fue rechazada y recién se publicó en 1813.

Katarzyna Morland, siedemnastoletnia córka pastora, na zaproszenie przyjaciół jedzie do popularnego uzdrowiska Bath. Poznaje tam rodzeństwo Tilneyów, Henryka i jego młodszą siostrę Eleonorę, którzy zapraszają ją do Opactwa Northanger, mrocznego i pełnego tajemnic. Krąg jej znajomych poszerza się. Młodziutka Katarzyna, która wiedzę o życiu czerpała dotąd z książek, będzie musiała nauczyć się samodzielnie oceniać ludzkie intencje i charaktery i rozpoznawać prawdziwą, bezinteresowna przyjaźń. Czy znajdzie też mężczyznę swojego życia?

"Opactwo Northanger", jeden z wcześniejszych utworów autorki "Rozważnej i romantycznej", jest pełną humoru, bogatą w aluzje literackie, łagodną satyrą na modne za życia Jane Austen powieści gotyckie. Książka doczekała się dwóch adaptacji telewizyjnych – w 1986 i w 2007 roku.

Jack Kerouac's On the Road is one of the most controversial American novels of the 20th century. When critics concede that the book and its author were instrumental in triggering the rucksack revolution, this is to damn with praise, as Kerouac is reduced to a one-book author (though he published some twenty volumes containing a wide range of prose and poetry). Moreover, the spiteful acknowledgement of a sociohistorical fact imports an aesthetic grudge against a novel that a close reading reveals to be far more conventional than most of its adversaries would would care to realize. Nor does the book propagate the shameless adoration of libidinous licentiousness for which it has been castigated in conservative quarters.

Kerouac, too, never understood what his book meant to the hordes of youngsters taking to the highways after the fashion of the characters peopling the narrative; but then, he was ill-fitted to grasp what his book had kindled in generations of young readers who felt stifled by the limitations of their parental homes. He never realized that he had prefigured their longings.

Born, in 1922, in Lowell MA and baptized Jean-Louis Lebris de Kerouac, he learned English only as a second language. His parents, French Canadian immigrants, provided for a parochial, Catholic conservative, working-class background dominated by the mother who, in keeping with her heritage, felt more comfortable at speaking to her children in her French-Canadian dialect. The father, a printer, lost his job in the Great Depression and never recovered his standing. “Ti-Jean” (as Jack was pet-named by his mother) was a brooding, introverted child, a voracious, if indiscriminate reader. In high school, he was a minor sensation on the football field, the performanance at half-back, rather than academic excellence, earning him a scholarship to Columbia University after a preparatory year at Horace Mann, a private high school in New York City. College football, however, was more competitive than high-school games, and after breaking a leg in practice, he could not establish himself as a starter on the team. He also was in academic difficulties and had to make up for failing grades with extracurricular work during summer vacation. Kerouac left Columbia during his sophomore year, came back for a brief spell the following year, and after various odd jobs at gas stations and an honorable discharge from the Navy for an “indifferent character,” he joined the merchant marine in 1942.

Jack, who claimed he had completed his first novel at age eleven, had written for his high-school paper, contributed articles on local college sports to the Columbia Spectator, and, “… inspired by a new enthusiasm for the novels of Thomas Wolfe” (Ann Charters, Kerouac), began to keep extensive journals. Onboard the S.S. George Weems, “bound for Liverpool with 500-pound bombs in her hold, flying the red dynamite flag” (Charters), he wrote The Sea Is My Brother, which remained unpublished. After the war restless years followed, as Jack grew involved in the emerging underground scene of New York. (In part he was to record those experiences in On the Road.) During the winters he lived in his mother’s apartment in Ozone Park, L.I. (the father had died in the spring of 1946), from where he set out on frequent drinking bouts, often lasting for several days, to Times Square bars or to parties in Greenwich Village; the summers he spent roaming the country between New York, San Francisco, and Mexico City. Intermittently he worked on what was to become The Town And the City; accepted by Harcourt, Brace Co. in 1949, the book appeared the following year and received lukewarm critical appraisal: “More often than not, the depth and breadth of his vision triumph decisively over his technical weaknesses,” the New York Times Book Review noted in November 1950.

During the spring of 1951 Kerouac completed, in a three-week burst of writing, a typescript entitled variously “Beat Generation” and “On the Road,” different names for “… a scroll of paper three inches thick made up of one single-spaced, unbroken 120 feet long paragraph,…” as a friend recalls. In spite of several revisions and persistent efforts, Kerouac could not find a publisher for what he, according to Ann Charters, “… knew immediately… was the best writing he had ever done.” Editors were more interested in stories dealing with the scandalous lifestyle of these young, “Beat” bohemians than in their artistic work, until, in late 1955, Malcolm Cowley, senior adviser at Viking, accepted the book on the proviso that he and Kerouac go over the script together. When On the Road finally came out in 1957, the original typescript had been cut by one-third and amended to approximate the text to literary, orthographic, and printing conventions. “… Cowley riddled the original style of the manuscript there, without my power to complain,…,” Kerouac indicted later in an interview for The Paris Review. (The tangled genesis of the text prior to publication-some seven typescript versions are known to exist-may well prove futile all attempts at establishing a definitive edition.)

In the wake of the clamor raised over the publication of Allen Ginsberg's “Howl” (the poem is dedicated to Kerouac, among others),On the Road made the bestseller lists and, except for a short lag in the early sixties, has continued to sell at a steady pace in America and Western Europe. The commercial success of On the Road prompted Viking to bring out more of Kerouac’s writings. By 1958 he had completed several manuscripts (Visions of Cody, Doctor Sax, and The Subterraneans, to name but a few), all autobiographical, loose in form, and written in the new prose style which he had developed in the meanwhile and called “Spontaneous Prose”: long, unpremeditated sentences full of associations, put to paper in the way they came to his mind; highly personal, often idiosyncratic accounts which were at times inherently contradictory; as he phrased it himself, in the vaguely programmatic “Essentials of Spontaneous Prose”:

No pause to think of proper word but the infantile pileup of scatological buildup words till satisfaction is gained, which will turn out to be a great appending rhythm to a thought and be in accordance with Great Law of timing.

The editors insisted on something conventional and chose The Dharma Bums because it was close to On the Road in scope, contents, and method of presentation. The book was inspired by Kerouac’s friendship with the Californian poet Gary Snyder, who became the model for Japhy Ryder, the hero of The Dharma Bums. Snyder had introduced Kerouac to Buddhist texts, the influence of which is traceable in On the Road and, more conspicuously, in The Dharma Bums. But Kerouac 'a infatuation with Eastern mysticism and religions was only transitory. At heart he always remained a devout Catholic, in his own personal way. He writes in “The Origins of the Beat Generation,” an article for Playboy:

I am not ashamed to wear the crucifix of my Lord. It is because I am Beat, that is, I believe in beatitude and that God so loved the world that he gave his own begotten son to it… So you people don’t believe in God. So you're all big smart know-it-all Marxists and Freudians, hey? Why don’t you come back in a million years and tell me all about it, angels?

Kerouac had always been an introverted, brooding, melancholic loner who preferred watching from the side over actively participating in his friends' hullabaloos; during the Sixties, his health deteriorating from continuous abuse of alcohol and benzedrine, he became utterly estranged from the world and retreated to his mother's home. He felt his work was misunderstood by the reading public, for whom he had become, due to his semi-fictitious heroes Dean Moriarty and Japhy Ryder, a cult figure and a pioneer of the newly emerging liberal movement. His political attitude was diametrically opposed to that of the majority of his readers as well as to that of his former close friend Allen Ginsberg. Kerouac spoke out in favor of the American engagement in Vietnam; in the interview for The Paris Review he explained:

I’m pro-American and the radical political involvements seem to tend elsewhere… The country gave my Canadian family a good break, more or less, and we see no reason to demean said country.

Shadows of fatalism and a profound pessimism permeate his later writing, for instance, The Vanity of Duluoz. Resignation, that all is “vanity,” rings through the last attempt at reshaping the legend he had begun with The Town And the City. Conspicuously, the two books cover roughly the same period of time, from the last years in Lowell to the father's death in New York City; while not exactly cheerful, the tone of The Town And the City, characterized by a longing to restore the happy days of childhood, had to give way to a deep sense of irrevocable loss. He wrote in the preface of Visions of Cody: “My work comprises one vast book like Proust's Remembrance of Things Past, except my remembrances are written on the run instead of afterwards in a sickbed.” The comparison, half-correct at best, sheds a distinct light on the author’s ambitions and misperceptions.

Jack Kerouac died on October 21, 1969, “of hemorrhaging esophageal varices, the classic drunkard’s death,” according to Gerald Nicosia, the author of Memory Babe, a near-definitive critical biography.

The Booker Prize-winning novel-now a major motion picture from Fox Searchlight Pictures.

This sweeping, irrepressibly inventive novel, is a romance, but a romance of the sort that could only take place in nineteenth-century Australia. For only on that sprawling continent-a haven for misfits of both the animal and human kingdoms-could a nervous Anglican minister who gambles on the instructions of the Divine become allied with a teenaged heiress who buys a glassworks to help liberate her sex. And only the prodigious imagination of Peter Carey could implicate Oscar and Lucinda in a narrative of love and commerce, religion and colonialism, that culminates in a half-mad expedition to transport a glass church across the Outback.

Provocative and disturbing, Truman Capote's first published novel is a meditation on how fate can debase youthful expectations. Joel Knox seeks his long-absent father and his own future, but nothing turns out as planned.

Мари-Од Мюраи – одна из наиболее интересных французских авторов литературы для юношества. Ни самого автора, ни ее произведения, – серьезные, беспокоящие и одновременно человечные и смешные до слез, – никак нельзя назвать политкорректными.

В романе для подростков «Oh, boy!» через историю трех детей, оставшихся сиротами, Мари-Од Мюрай талантливо и с юмором раскрывает сразу несколько тем, о которых обычно не принято говорить: сиротства, тяжелой болезни близкого человека, гомосексуализма, взаимосвязи между ответственностью и взрослением.

Dla miłośników Gombrowicza ta sensacyjna powieść drukowana przed wojną w prasie codziennej stanowi możliwość prześledzenia wątków mniej znanych w jego twórczości. Jest to pełne wydanie utworu, którego zakończenie – w związku z wybuchem wojny – uważano długo za zagubione lub w ogóle nie napisane.

Kryminalna intryga, wątek romansowy, zagęszczona atmosfera tajemniczości i działania sił nadprzyrodzonych podnoszą walor tekstu jako "czytadła" o znamionach jedynej w swoim rodzaju polskiej powieści "gotyckiej".

Sensacyjny romans łączący wiele wątków spotykanych w powieściach gotyckich: tajemniczy zamek, w którym straszy, skandal w ksążęcej rodzinie, opętanie, klątwa…

A sailor escapes from his ship while visiting the Marquesas Islands and joins the crew of a savage boat.

A novel of love and growing up by Andreï Makine, whose bestselling Dreams of My Russian Summerswas hailed by the Los Angeles Timesas one of the "best autobiographical books of the century."

In the immense virgin pine forests of Siberia, where the snows of winter are vast and endless, sits the little village of Svetlaya. In the early years of the century the village had been larger, more prosperous, but time and the pendulum of history had reduced it by the 1970s to no more than a cluster of izbas. As wars and revolution had succeeded one another, the men had gone away, never to return, the women reduced to dressing in black.

But for three young men-the handsome young Alyosha, the crippled Utkin, and the older, dashing Samurai-little is needed to construct their own special universe. Despite the harshness of the environment and their meager resources, the three adolescents form a tight band of friendship and dream of another life, a world of passion and love. The warm lights of the Transsiberian train passing through give them fleeting glimpses of that other world. And when they learn one day that a Western film is being shown at the Red October Theatre in the closest real city, Nerlug, twenty miles away on the mighty Amur River, they trek for hours on snowshoes to see it. Through that film, starring the French actor Jean-Paul Belmondo and replete with gorgeous women whom he succeeds in seducing one after the other with consummate ease, the boys' lives are changed forever. Over the next several months they travel seventeen times to see their hero. And when that film is replaced by another that is equally daring and seductive, their obsession only grows.

Written from the perspective of twenty years after these youthful events, Once Upon the River Lovefollows the destinies of these three young idealists up to the present day, to the boardwalks of Brighton Beach and the jungles of Central America.

With the same mastery of plot and prose that marked the author's Dreams of My Russian Summers,this novel demonstrates Andreï Makine's remarkable ability to recreate the past with such precision and beauty that the present becomes all the more poignant and moving.

Once Upon the River Loveoffers further proof that Andreï Makine is one of the major literary talents of our time.

La guerre. Ca se passe en France. Une ville moyenne. Un immeuble tout confort. Et deux locataires, les organisations non gouvernementales La Foulée verte et Enfance et vaccin, qui ne se supportent pas. La Foulée verte travaille évidemment à sauver l'humanité des catastrophes écologiques qui la menacent et à la protéger des poisons qu'on lui distille. Quant à Enfance et vaccin, inutile d'insister. Beaucoup de bons sentiments de part et d'autre. Beaucoup de mots, beaucoup de formules et d'idées toutes faites. Une certitude énorme d'être indispensable et la bonne conscience monstrueuse qui va avec. Le sel de la terre! Et c'est bien sûr au niveau le plus mesquin que naissent les premières difficultés entre les deux organisations.

Julien est bègue depuis l'âge de dix ans, depuis que son père l'a surpris en train de brûler les testicules d'un chat errant. Bègue mais pas manchot quand il s'agit de tenir une plume. À la recherche d'un stage et bien désireux de fuir l'exemple "mini-bourgeois" de ses parents, Julien dégotte une place à la Foulée Verte, ONG quasi mystique défendant les pingouins du pôle et la couche d'ozone. Sous la houlette d'Ulis, le chef charismatique au glorieux passé et de la belle Celsa, Julien s'épanouit et s'enflamme pour la cause, prêt à tout pour faire triompher ses idéaux et ceux de ses supérieurs. À tout dites-vous? À tout, oui. Car, quand une ONG baptisée "Enfance et vaccin" s'installe dans le même immeuble, bousille affiches et vélos, lance des insultes et pactise avec les pires ennemis de la Foulée Verte, c'est la guerre que l'on déclare. Et Julien, en plus de son rôle de chroniqueur de guerre, est bien décidé à en découdre.

Iegor Gran a un talent d'écriture certain, beaucoup d'humour et une dent contre ses personnages. Pas de héros dans cette histoire naviguant sur l'océan de l'absurde mais une tripotée d'individus plus ou moins recommandables qui s'arrachent le monopole de la bonne conscience. Et qui justifient par un soi-disant code d'honneur et un pataquès philosophico-social un peu plus de richesse, un peu plus de pouvoir. Sur ce thème, Iegor Gran offre un très bon roman et donne un grand coup de pied à notre société. Comme quoi le mariage des deux n'est pas impossible.

Arthur Shelby, ein Plantagenbesitzer in Kentucky, sieht sich in seiner finanziellen Not gezwungen, seinen besten und treuesten Sklaven, Onkel Tom, und den fünfjährigen Harry an einen skrupellosen Sklavenhändler zu verkaufen. Während Harry mit seiner Mutter auf abenteuerliche Weise Richtung Kanada flieht, beugt sich Uncle Tom demütig seinem Schicksal. Von einem Besitzer zum nächsten verkauft, ist es nur eine kurze Zeit, in der er wie ein Mensch behandelt wird. Schließlich landet Uncle Tom auf einer Baumwollplantage im Süden der USA …

"Ono" – jedna z bardziej zaskakujących powieści ostatnich lat, książka inna od tych, które Terakowska kierowała dotychczas do młodzieży, inna też od adresowanej do starszych czytelników "Poczwarki", choć, podobnie jak ta ostatnia, przeznaczona jest dla dojrzałych odbiorców. Po raz pierwszy Dorota Terakowska przedstawia świat tak dotkliwie realistyczny, choć nie pozbawiony magii i niezwykłości. Umieszcza w nim na pozór nie wyróżniającą się żadnymi szczególnymi cechami osobowości czy zdolnościami bohaterkę, w której każdy może odnaleźć mniej lub bardziej sobie znajomą "dziewczynę z sąsiedztwa". Dziewiętnastoletnia Ewa, mieszkanka małego polskiego miasteczka, pozbawiona zainteresowań i jakichkolwiek większych ambicji, staje nagle przed bardzo poważnym problemem życiowym. To, co jej się przytrafia, nie jest niestety czymś niespotykanym, zaskakująca jest natomiast jej reakcja na ów problem – postawa niewiele mająca wspólnego z wyborem, jakiego moglibyśmy się po "takiej dziewczynie" spodziewać. Powieść jest zadziwiająca, wielowymiarowa i pełna napięcia, autorka po mistrzowsku wykorzystała w niej wypróbowaną w prozie realistycznej ideę ukazania wewnętrznego rozwoju młodego bohatera na tle jego środowiska. Mamy tu do czynienia z realizacją nie tylko udaną, ale i pod wieloma względami nowatorską. Misterna, przemyślana w każdym szczególe konstrukcja oraz znakomicie nakreślone, wyraziste postaci sprawiają, że powieść czyta się jednym tchem.

"Ono", oprócz typowego dla Terakowskiej klimatu i symboliki, jest powieścią przejmująco realistyczną. Nie pozwala na obojętność, porusza, sięga do najgłębszych emocji każdego czytelnika. Dotyka problemów bliskich nam wszystkim i zmusza do głębokich refleksji. Po tę książkę powinien sięgnąć każdy, bo dla wszystkich ta literacka rzeczywistość jest światem, w którym żyjemy. "Ono" zmusi do odpowiedzi na pytanie: "jakie jest nasze w tym świecie miejsce?" i w każdym z nas pozostawi ślad na bardzo długo.

Ośmioro przyjaciół. Niby znają się jak łyse konie. Niby… Bo cierpią, błądzą, potykają się i upadają, zanim po omacku dojdą do najoczywistszej prawdy: w życiu liczy się tylko miłość i tylko ona pozwala dokonywać właściwych wyborów. Wszystko inne zawodzi. O czym przekonywałam Czytelników zawsze.

As the story opens, the narrator, who calls himself Snowman, is sleeping in a tree, wearing a dirty old bedsheet, mourning the loss of his beautiful and beloved Oryx and his best friend Crake, and slowly starving to death. In a world in which science-based corporations have recently taken mankind on an uncontrolled genetic-engineering ride, he now searches for supplies in a wasteland. Insects proliferate and pigoons and wolvogs ravage the Pleeblands, where ordinary people once lived, and the Compounds that sheltered the extraordinary. As he tries to piece together what has taken place, the narrative shifts to decades earlier. How did everything fall apart so quickly? Why is Snowman left with nothing but his bizarre memories—alone except for the more-than-perfect, green-eyed Children of Crake, who think of him as a kind of monster? He explores the answers to these questions in the double journey he takes—into his own past and back to Crake’s high-tech bubble dome, where the Paradice Project unfolded and the world came to grief.

Рассказ вошёл в сборники:

Quicker Than The Eye (В мгновение ока)

Bradbury Stories: 100 of His Most Celebrated Tales (Сборник ста лучших рассказов)

Кое-кто из читателей нашел в романе "исторические неточности". Искренние соболезнования им. Ибо нет тут "исторических неточностей". И не может быть. Здесь все абсолютно так, как это могло бы быть на самом деле...

Кое-кто из читателей нашел в романе «исторические неточности». Искренние соболезнования им. Ибо нет тут «исторических неточностей». И не может быть. Здесь все абсолютно так, как это могло бы быть на самом деле…

Momotarō, Click-Clack Mountain, The Sparrow Who Lost Her Tongue, The Stolen Wen, Urashima-san… The father reads these old tales to the children. Though he's shabbily dressed and looks to be a complete fool, this father is a singular man in his own right. He has an unusual knack for making up stories.

Once upon a time, long, long ago…

Even as he reads the picture book aloud in a strangely imbecilic voice, another, somewhat more elaborate tale is brewing inside him.

Dazai Osamu wrote The Fairy Tale Book (Otogizoshi) in the last months of the Pacific War. The traditional tales upon which Dazai's retellings are based are well known to every Japanese schoolchild, but this is no children's book. In Dazai's hands such stock characters as the kindhearted Oji-san to Oba-san ("Grandmother and Grandfather"), the mischievous tanuki badger, the fearsome Oni ogres, the greedy old man, the "tongue-cut" sparrow, and of course Urashima Taro (the Japanese Rip van Winkle) become complex individuals facing difficult and nuanced moral dilemmas. The resulting stories are thought-provoking, slyly subversive, and often hilarious.

"Divakaruni is a brilliant storyteller; she illuminates the world with her artistry; and shakes the reader with her love." – Junot Diaz

Late afternoon sun sneaks through the windows of a passport and visa office in an unnamed American city. Most customers and even most office workers have come and gone, but nine people remain. A punky teenager with an unexpected gift. An upper-class Caucasian couple whose relationship is disintegrating. A young Muslim-American man struggling with the fallout of 9/11. A graduate student haunted by a question about love. An African-American ex-soldier searching for redemption. A Chinese grandmother with a secret past. And two visa office workers on the verge of an adulterous affair.

When an earthquake rips through the afternoon lull, trapping these nine characters together, their focus first jolts to their collective struggle to survive. There's little food. The office begins to flood. Then, at a moment when the psychological and emotional stress seems nearly too much for them to bear, the young graduate student suggests that each tell a personal tale, "one amazing thing" from their lives, which they have never told anyone before. And as their surprising stories of romance, marriage, family, political upheaval, and self-discovery unfold against the urgency of their life-or-death circumstances, the novel proves the transcendent power of stories and the meaningfulness of human expression itself. From Chitra Divakaruni, author of such finely wrought, bestselling novels as Sister of My Heart, The Palace of Illusions, and The Mistress of Spices, comes her most compelling and transporting story to date. One Amazing Thing is a passionate creation about survival-and about the reasons to survive.

One of Dickens’ most enduringly popular stories is Oliver Twist, an early work published 1837-8. Like many of his later novels, its central theme is the hardship faced by the dispossessed and those of the outside of ‘polite’ society. Oliver himself is born in a workhouse and treated cruelly there as was the norm at the time for pauper children, in particular by Bumble, a parish council official or ‘beadle’. The story follows Oliver as he escapes the workhouse and runs away to London. Here he receives an education in villainy from the criminal gang of Fagin that includes the brutal thief Bill Sikes, the famous ‘Artful Dodger’ and Nancy, Bill’s whore. Oliver is rescued by the intervention of a benefactor — Mr Brownlow — but the mysterious Monks gets the gang to kidnap the boy again. Nancy intervenes but is murdered viciously by Sikes after she has showed some redeeming qualities and has discovered Monk’s sinister intention. The story closes happily and with justice for Bumble and the cruel Monks who has hidden the truth of Oliver’s parentage out of malice. Accusations were made that the book glamorised crime (like the ‘Newgate Group’ of the period) but Dickens wisely disassociated himself from criminal romances. His achievement was in fact in presenting the underworld and problems of poverty to the well-off in a way rarely attempted previously.

On Killing: The Psychological Cost of Learning to Kill in War and Society is a book by Lt. Col. Dave Grossman exploring the psychology of the act of killing and the military and law enforcement establishments’ attempt to understand and deal with the consequences of killing.

The book is heavily based on S. L. A. Marshall’s studies from World War II, which proposed that contrary to popular perception, the majority of soldiers in war do not ever fire their weapons and that this is due to an innate resistance to killing. Based on Marshall’s studies the military instituted training measures to break down this resistance and successfully raised soldier’s firing rates to over ninety percent during the war in Vietnam.

Grossman however points out that there are great psychological costs that weigh heavily on the combat soldier or police officer who kills if they are not mentally prepared for what may happen; if their actions (killing) are not supported by their commanders and/or peers; and if they are unable to justify their actions (or if no one else justifies the actions for them).

“An illuminating account of how soldiers learn to kill and how they live with the experience of having killed.”

— Washington Post

New novel about men, love and relationships by the author of the Book of the Year, Man and Boy. Alfie Budd found the perfect woman with whom to spend the rest of his life, and then lost her. He doesn't believe you get a second chance at love. Returning to the England he left behind during the brief, idyllic time of his marriage, Alfie finds the rest of his world collapsing around him. He takes comfort in a string of pointless, transient affairs with his students at Churchill's Language School, and he tries to learn Tai Chi from an old Chinese man, George Chang. Will Alfie ever find a family life as strong as the Changs'? Can he give up meaningless sex for a meaningful relationship? And how do you play it when the woman you like has a difficult child who is infatuated with a TV wrestler known as The Slab? Like his runaway bestseller, Man and Boy, Tony Parsons's new novel is full of laughter and tears, biting social comment and overwhelming emotion.

A former captain in the Marines’ First Recon Battalion, who fought in Afghanistan and Iraq, reveals how the Corps trains its elite and offers a point-blank account of twenty-first-century battle.

If the Marines are “the few, the proud,” Recon Marines are the fewest and the proudest. Only one Marine in a hundred qualifies for Recon, charged with working clandestinely, often behind enemy lines. Fick’s training begins with a hellish summer at Quantico, after his junior year at Dartmouth, and advances to the pinnacle—Recon—four years later, on the eve of war with Iraq. Along the way, he learns to shoot a man a mile away, stays awake for seventy-two hours straight, endures interrogation and torture at the secretive SERE course, learns to swim with Navy SEALs, masters the Eleven Principles of Leadership, and much more.

His vast skill set puts him in front of the front lines, leading twenty-two Marines into the deadliest conflict since Vietnam. He vows he will bring all his men home safely, and to do so he’ll need more than his top-flight education. He’ll need luck and an increasingly clear vision of the limitations of his superiors and the missions they assign him. Fick unveils the process that makes Marine officers such legendary leaders and shares his hard-won insights into the differences between the military ideals he learned and military practice, which can mock those ideals. One Bullet Away never shrinks from blunt truths, but it is an ultimately inspiring account of mastering the art of war.

‘The book’s enormous power derives from the quality of Fick’s writing and the intensity of his moral vision. The prose is terse, clean and unmannered, the eye misses nothing. An Afghan sunrise, an Iraqi slum, or a Marine Corps sergeant is drawn in a few words, the dialogue is sharp, and the action sequences tight and tense. Fick is especially good at conveying his own feelings in battle’.

Ben Shepard, TLS

‘There is much of worth here. The author is… thoughtful, humane and reflective and has some keen insights. He is far from the mindless ‘gung ho’ marine of the movies and would be a good man to go to war with’.

Herald on Sunday

‘A terrific account of basic training and active service… an excellent book which is timely and thought-provoking’.

Glasgow Herald

‘Harrowing… deserves close reading and serious discussion’.

The Washington Post

‘Fick’s descriptive and exacting writing… guarantees One Bullet Away a place in the war memoir hall of fame’.

USA Today

‘One can hardly imagine a finer boots-on-the-ground chronicle of this open-ended conflict, no matter how long it may last’.

Kirkus

‘One Bullet Away is a crisply written, highly readable, pacy march through the life of a combat leader. In each page, the reader can smell the cordite and see the chaos of combat, yet can also feel a tangible sense of the ethos and very essence not only of the United States Marine Corps but also of leadership, both at the military and the human level’.

RUSI Journal

Año 1943. El coronel Claus Schenk von Stauffenberg acababa de ser trasladado a Berlín bajo las órdenes del general Friedrich Olbricht, miembro de un comité de resistencia que empieza a maquinar un plan para dar muerte a Hitler.

Olbricht ya tiene entrelazados a más de 200 implicados en distintos estratos de la sociedad alemana e incluso de la sección de inteligencia y contraespionaje. El objetivo es eliminar a Hitler, Goering y Himmler, neutralizar a las SS e instalar un gobierno provisional que intentaría hacer las paces con occidente y detener la guerra. Von Stauffenberg, a pesar de sus lesiones de guerra (ha perdido un ojo y varios dedos de la mano), quiere realizar el atentado. Los conspiradores dudan. ¿Tendrá capacidad para activar la bomba? Finalmente aceptan porque entienden que su invalidez es la coartada perfecta y que no levantará sospechas. El coronel Von Stauffenberg intenta varias veces cumplir su misión, pero no consigue nunca encontrar juntos a los que deben morir. Finalmente, el 20 de julio de 1944 se da la ocasión perfecta. El alto mando se reúne en el cuartel general de Hitler, ubicado cerca de Rastenburg. Von Stauffenberg

porta un maletín con un explosivo inglés de 1 kg que se activa mediante un detonador químico absolutamente silencioso. Todo es perfecto. Se sienta junto al líder nazi. Solo queda esperar el momento…

Wyobraźmy sobie sytuację, gdy do złudzenia podobny do nas nieznajomy zawłaszcza nasze imię i nazwisko, przypisuje sobie nasz życiorys i jeździ po świecie, podszywając się pod nas.

W książce tej, gdzie w mistrzowski sposób fakty splatają się z fikcją, Philip Roth spotyka mężczyznę, który być może jest, a może nie jest Philipem Rothem. A wszystko dlatego, że ktoś o tym nazwisku przemierza państwo Izrael, propagując dziwaczną ideę żydowskiego exodusu a rebours. Roth postanawia powstrzymać tego człowieka – nawet gdyby miało to oznaczać wcielenie się w uzurpatora.

Pełna napięcia, zabawna, nasycona emocjami, inteligentnie napisana i tętniąca narracyjną energią Operacja Shylock jest historią szpiegowską, politycznym thrillerem, refleksją nad istotą tożsamości, a jednocześnie rodzajem wyznania.

The "Clifton Chronicles" is Jeffrey Archer's most ambitious work in four decades as an international bestselling author. The epic tale of Harry Clifton's life begins in 1920, with the chilling words, 'I was told that my father was killed in the war'. But it will be another twenty years before Harry discovers how his father really died, which will only lead him to question: who was his father? Is he the son of Arthur Clifton, a stevedore who worked in Bristol docks, or the first born son of a scion of West Country society, whose family owns a shipping line? "Only Time Will Tell" covers the years from 1920 to 1940, and includes a cast of memorable characters that "The Times" has compared to "The Forsyte Saga". Volume one takes us from the ravages of the Great War to the outbreak of the Second World War, when Harry must decide whether to take up a place at Oxford, or join the navy and go to war with Hitler's Germany. In Jeffrey Archer's masterful hands, the reader is taken on a journey that they won't want to end, and when you turn the last page of this unforgettable yarn, you will be faced with a dilemma that neither you, nor Harry Clifton could have anticipated.

From Publishers Weekly

In 1948, a 12-year-old boy named Fintan is sailing to Africa with his Italian mother to live with the British father he doesn't remember. At times, this French novel paints too precious a picture of the young Fintan and his mother, who occasionally writes down poetic bits like "In my hands I hold the prey of silence." The ship's voyage can drag, too, with too many hints about the characters' previous lives (upon learning that Fintan has contracted scabies, his mother cries out "A barnyard disease!"). But once the pair arrive in Onitsha, in Nigeria, Fintan's views of the colonial situation and the different ways that Europeans adapt to their surroundings prove fresh and valuable, though suffused with the unworldly morality of the innocent. He befriends Bony, the son of a fisherman, who teaches him a new way of seeing nature. The relationship between Fintan's parents crackles with difficulty as they attempt to readjust to each another after their long separation and as his mother strains against local customs. At a dinner party hosted by a man who has commissioned prisoners to dig a swimming pool, Fintan's mother insists that the chained prisoners be allowed something to eat and drink. Her request is met, but she is then ostracized by polite society. Eventually, Fintan's father loses his job with the United Africa Company and moves the family first to London, then to the south of France. Overall, this novel is choppy, but it generates waves that startle and surprise, and that push the reader from one page to the next.

From Library Journal

Often, looking through youthful eyes focuses readers directly on the brutal truths of such unsavory issues as racism. In this latest translation of a work by noted French author Le Clezio (following The Prospector, Godine, 1993), young Fintan realizes the horrors of racist, colonial society as he journeys with his much-beloved mother to Africa in 1948 to join his father, an agent for a trading company. Even before their ship has arrived, Fintan is becoming aware of Western intolerance of African people, beliefs, and language. The novel offers a compelling contrast between white mistreatment of Africans and the occasionally dangerous natural beauty surrounding the village of Onitsha on the banks of the Niger River. Fintan never forgets the harsh facts of his childhood years, and readers will not forget this novel.

Arthur, un joven arquitecto californiano, vuelve a Los Ángeles después de pasar una larga temporada en París.

Sin embargo, durante todo este tiempo no ha conseguido olvidar a Lauren, el gran amor de su vida que le robó el corazón cuando, a raíz de un accidente, cayó en estado de coma.

Gracias a la insistencia y la valentía de Arthur, Lauren siguió viviendo, a pesar de la opinión del doctor y de la madre de desenchufar los aparatos que la mantenían con vida.

Éstos, avergonzados, le hicieron jurar que jamás confesaría la verdad a la joven, que no recuerda nada de aquellos meses. Arthur cumple su palabra, desaparece de su vida e intenta olvidarla. Cuando vuelve a Los Ángeles el destino hará que se reencuentren.

Basada en esta novela (y con importantes variaciones en el guión), se ha estrenado recientemente una película con el mismo título, dirigida por Mark Waters.

A richly textured novel of idealism and romance, Once We Had a Country re-imagines the impact of the Vietnam War by way of the women and children who fled with the draft dodgers.

It’s the summer of 1972. Maggie, a young schoolteacher, leaves the United States to settle with her boyfriend, Fletcher, on a farm near Niagara Falls. Fletcher is avoiding the Vietnam draft, but they’ve also come to Harroway with a loftier aim: to start a commune, work the land and create a new model for society. Hopes are high for life at Harroway; equally so for Maggie and Fletcher’s budding relationship, heady as it is with passion, jealousy and uncertainty. As the summer passes, more people come to the farm—just not who Maggie and Fletcher expected. Then the US government announces the end of the draft, and Fletcher faces increasing pressure from his family to return home. At the same time, Maggie must deal with the recent disappearance of her father, a missionary, in the jungle of Laos. What happened in those days before her father vanished, and how will his life and actions affect Maggie’s future? Once We Had a Country is a literary work of the highest order, a novel that re-imagines an era we thought we knew, and that compels us to consider our own belief systems and levels of tolerance.

A richly textured novel of idealism and romance, Once We Had a Country re-imagines the impact of the Vietnam War by way of the women and children who fled with the draft dodgers.

It’s the summer of 1972. Maggie, a young schoolteacher, leaves the United States to settle with her boyfriend, Fletcher, on a farm near Niagara Falls. Fletcher is avoiding the Vietnam draft, but they’ve also come to Harroway with a loftier aim: to start a commune, work the land and create a new model for society. Hopes are high for life at Harroway; equally so for Maggie and Fletcher’s budding relationship, heady as it is with passion, jealousy and uncertainty. As the summer passes, more people come to the farm—just not who Maggie and Fletcher expected. Then the US government announces the end of the draft, and Fletcher faces increasing pressure from his family to return home. At the same time, Maggie must deal with the recent disappearance of her father, a missionary, in the jungle of Laos. What happened in those days before her father vanished, and how will his life and actions affect Maggie’s future? Once We Had a Country is a literary work of the highest order, a novel that re-imagines an era we thought we knew, and that compels us to consider our own belief systems and levels of tolerance.

Nim Goldman is the vice president of GSP&L - the corporation feeding power, light and heat to the kilowatt hungry state of California.

He's a man with a big job and all the women he can handle, but he knows the crunch is coming. Soon, very soon, power famine will strike the most advanced society the world has ever known...

THE ZONE 5 • OVERKILL

A heavily armed NATO riverine force led by the Major Revells’ Special Combat Force uses the Elbe to try and relieve the Warsaw Pact siege of Hamburg. Only partially successful the NATO troops must survive in the battered city until they can launch a breakout.

SYNOPSIS

The city of Hamburg has been surrounded by Warsaw Pact forces for a long time, a siege that is starving defenders and civilians alike. To relieve it NATO launches a riverine assault led by Major Revells’ Special Combat Force. A bitterly fought battle eventually delivers some relief to the city but then the enemy noose tightens again and there has to be another battle when the trapped relief force launches a no-holds-barred attempt at a breakout, employing weapons and vehicles scraped from any source. It is then they discover to just what depths the enemy have sunk in their desperation to maintain the encirclement.

PUBLISHED

First NEL Paperback Edition March 1982

First IMPRINT Publication E-Book Edition May 2005

First Revision IMPRINT Publications E-Book Edition April 2007

Edward Hopper's painting "Office at Night" is open to endless interpretation. In this collaborative novella, Kate Bernheimer and Laird Hunt borrow from his practice of improvising on "the facts" of observation to create a work of art, imagining the lives of its characters: stenographer Marge Quinn and her boss, the sometimes painter Abraham Chelikowsky.

"Remarkable…Powerful…Mesmerizing…Lyrical."-Susan Cheever

Welcome to the America of the 21st century. The O-Zone is a forbidding land of nuclear waste, mutants & aliens. Except for one place that is a beautiful oasis amidst the destruction. When two aliens are shot that look suspiciously human, Hooper Allbright, disurbed by the memories of those he once loved, goes back down into the O-Zone to try to reach the people he lost, though they may be unreachable by now…

"Smart, witty, grotesque, & brutal."-The Philadelphia Inquirer

In this exuberantly satirical novel, the tutor Atzbacher has been summoned by his friend Reger to meet him in a Viennese museum. While Reger gazes at a Tintoretto portrait, Atzbacher — who fears Reger's plans to kill himself — gives us a portrait of the musicologist: his wisdom, his devotion to his wife, and his love-hate relationship with art. With characteristically acerbic wit, Bernhard exposes the pretensions and aspirations of humanity in a novel at once pessimistic and strangely exhilarating.

The restless King Oliver VII of Alturia, an obscure Central European state whose only notable exports are wine and sardines, wants nothing more than an easy life: so, plotting a coup against himself, King Oliver VII escapes to Venice in search of real experience. There he falls in with a team of con-men and ends up, to his own surprise, impersonating himself. His journey through successive levels of illusion and reality teaches him much about the world, about his own nature and the paradoxes of the human condition. Szerb offered Oliver VII as a translation from a non-existent English writer, A H Redcliff typical Szerb humor, or a reflection of the fact that as a rootless cosmopolitan his own work was banned by the Nazi regime?"

Winner of the PEN/Hemingway Award

The place is the chilly border between Russia and China. The time is the early 1970s when the two giants were poised on the brink of war. And the characters in this thrilling collection of stories are Chinese soldiers who must constantly scrutinize the enemy even as they themselves are watched for signs of the fatal disease of bourgeois liberalism.

In Ocean of Words, the Chinese writer Ha Jin explores the predicament of these simple, barely literate men with breathtaking concision and humanity. From amorous telegraphers to a pugnacious militiaman, from an inscrutable Russian prisoner to an effeminate but enthusiastic recruit, Ha Jin's characters possess a depth and liveliness that suggest Isaac Babel's Cossacks and Tim O'Brien's GIs. Ocean of Words is a triumphant volume, poignant, hilarious, and harrowing.

"A compelling collection of stories, powerful in their unity of theme and rich in their diversity of styles."-New York Times Book Review

"Extraordinary…[These stories are shot through with wit and offer glimpses of human motivation that defy retelling…Read them all."-Boston Globe

"An exceptional new talent, capable of wringing rich surprises out of austere materials."-Portland Oregonian

Andrzej Stasiuk is a restless and indefatigable traveler. His journeys take him from his native Poland to Slovakia, Hungary, Romania, Slovenia, Albania, Moldova, and Ukraine. By car, train, bus, ferry. To small towns and villages with unfamiliar-sounding yet strangely evocative names. “The heart of my Europe,” Stasiuk tells us, “beats in Sokolow, Podlaski, and in Husi, not in Vienna.”

Where did Moldova end and Transylvania begin, he wonders as he is being driven at breakneck speed in an ancient Audi — loose wires hanging from the dashboard — by a driver in shorts and bare feet, a cross swinging on his chest. In Comrat, a funeral procession moves slowly down the main street, the open coffin on a pickup truck, an old woman dressed in black brushing away the flies above the face of the deceased. On to Soroca, a baroque-Byzantine-Tatar-Turkish encampment, to meet Gypsies. And all the way to Babadag, between the Baltic Coast and the Black Sea, where Stasiuk sees his first minaret, “simple and severe, a pencil pointed at the sky.”

A brilliant tour of Europe’s dark underside — travel writing at its very best.

On January 26, 1948, a man posing as a public health official arrives at a bank in Tokyo. He explains that he’s there to treat everyone who might have been exposed to a recent outbreak of dysentery. Soon after drinking the medicine he administers, twelve employees are dead, four are unconscious, and the “official” has fled. Twelve voices tell the story of the murder from different perspectives including a journalist, a gangster-turned-businessman, an “occult detective,” and a well-known painter. Each voice enlarges and deepens the portrait of a city and a people making their way out of a war-induced hell. Told with David Peace’s brilliantly idiosyncratic and mesmerizing voice, Occupied City is a stunningly audacious work from a singular writer.

A novel about fear of the future — and the future of fear.

New York City, the near future: Mitchell Zukor, a gifted young mathematician, is hired by a mysterious new financial consulting firm, FutureWorld. The business operates out of an empty office in the Empire State Building; Mitchell is employee number two. He is asked to calculate worst-case scenarios in the most intricate detail, and his schemes are sold to corporations to indemnify them against any future disasters. This is the cutting edge of corporate irresponsibility, and business is booming.

As Mitchell immerses himself in the mathematics of catastrophe — ecological collapse, war games, natural disasters — he becomes obsessed by a culture’s fears. Yet he also loses touch with his last connection to reality: Elsa Bruner, a friend with her own apocalyptic secret, who has started a commune in Maine. Then, just as Mitchell’s predictions reach a nightmarish crescendo, an actual worst-case scenario overtakes Manhattan. Mitchell realizes he is uniquely prepared to profit. But at what cost?

At once an all-too-plausible literary thriller, an unexpected love story, and a philosophically searching inquiry into the nature of fear, Nathaniel Rich’s Odds Against Tomorrow poses the ultimate questions of imagination and civilization. The future is not quite what it used to be.

A luminous, powerful novel that establishes Rachel Cusk as one of the finest writers in the English language.

A man and a woman are seated next to each other on a plane. They get to talking — about their destination, their careers, their families. Grievances are aired, family tragedies discussed, marriages and divorces analyzed. An intimacy is established as two strangers contrast their own fictions about their lives.

Rachel Cusk’s Outline is a novel in ten conversations. Spare and stark, it follows a novelist teaching a course in creative writing during one oppressively hot summer in Athens. She leads her students in storytelling exercises. She meets other visiting writers for dinner and discourse. She goes swimming in the Ionian Sea with her neighbor from the plane. The people she encounters speak volubly about themselves: their fantasies, anxieties, pet theories, regrets, and longings. And through these disclosures, a portrait of the narrator is drawn by contrast, a portrait of a woman learning to face a great loss.

Outline takes a hard look at the things that are hardest to speak about. It brilliantly captures conversations, investigates people’s motivations for storytelling, and questions their ability to ever do so honestly or unselfishly. In doing so it bares the deepest impulses behind the craft of fiction writing. This is Rachel Cusk’s finest work yet, and one of the most startling, brilliant, original novels of recent years. Short-listed for the 2014 Goldsmiths Prize, nominated for the 2014 Folio Prize.

A new novel of artful understatement about mortality, estrangement, and the absurdity of life from the acclaimed author of Unformed Landscape and In Strange Gardens.

On a day like any other, Andreas changes his life. When a routine doctor’s visit leads to an unexpected prognosis, a great yearning takes hold of him — but who can tell if it is homesickness or wanderlust? Andreas leaves everything behind, sells his Paris apartment; cuts off all social ties; quits his teaching job; and waves goodbye to his days spent idly sitting in cafes — to look for a woman he once loved, half a lifetime ago. The monotony of days has been keeping him in check; now he hopes for a miracle and for a new beginning.

Andreas’ travels lead him back to the province of his youth, back to his hometown in Switzerland where he returns to familiar streets, where his brother still lives in their childhood home, and where Fabienne, a woman he was obsessed with in his youth, visits the same lake they once swam in together. Andreas, still consumed with longing for his lost love and blinded by the uncertainty of his future, is tormented by the question of what might have been if things had happened differently.

Peter Stamm has been praised as a “stylistic ascetic” and his prose as “distinguished by lapidary expression, telegraphic terseness, and finely tuned sensitivity” (Bookforum). In On a Day Like This, Stamm’s unobtrusive observational style allows us to journey with our antihero through his crises of banality, of living in his empty world, and the realization that life is finite — that one must live it, as long as that is possible.

The critically acclaimed novel from a master of contemporary American fiction — now available as an ebook

A loving satire of new parenthood and its attendant joys and blunders

The Golds and the Hummels live in the same wealthy Manhattan neighborhood, but as both couples prepare for the arrival of their first child, they share little in terms of parenting philosophy. The Golds plunge into natural birth without bothering to first set up a nursery. The Hummels schedule a C-section and fill out hospital admissions paperwork weeks in advance. Both couples, however, are grappling with the transformations they know parenthood will immediately bring.

Set in a milieu of material excess and limitless ambition, Only Children skewers new parents who expect perfect lives, but also offers an intimate look at the trials all new parents face as they learn how to nurture.

This ebook features a new illustrated biography of Rafael Yglesias, including rare photos and never-before-seen documents from the author’s personal collection.

From Publishers Weekly

With insight and candor, Yglesias recounts five years in the lives of two yuppie couples, to whom parenthood occasions typical tribulations and discouraging self-assessments. Byron’s birth exacerbates the problems between Diane and Peter Hummel (she’s a Yale-educated corporate lawyer, he’s a wealthy fundraiser for the arts). While she foolishly tries to be super-mom, wife and professional, she also puts pressure on Byron to excel, attempting to enroll him in an elite school and forcing him to play the violin. Peter withdraws from them both after Byron’s presence activates long-dormant memories of his icily aloof mother. Investment counselor Eric Gold, obsessed by the humiliation of his father’s business failures, frantically pushes himself to produce substantial earnings for his wife Nina and their son Luke. Her imagined inadequacies torment Nina, especially when she cannot soothe Luke, whose colic makes him infuriatingly uncontrollable. This is a vivid description of how rearing a first child can conjure up neurotic fears, which must be resolved before parents can nurture their offspring. Yglesias has abandoned the cynicism that infused Hot Properties; this new novel is deeply felt and thought-provoking. $75,000 ad/promo; Doubleday Book Club main selection; Literary Guild featured alternate.

Copyright 1988 Reed Business Information, Inc.

From Library Journal

"The joys of Motherhood. Are they all one great lie?" In carefully orchestrated, parallel stories of two New York couples and their sons from birth through age five, Yglesias explores this and other contemporary parenting issues. The story moves carefully between the Golds and the Hummels in a sort of literary counterpoint that becomes more staccato in the second half of the book. Educated professionals with good incomes, both sets of parents have excellent intentions but are crippled by emotional "baggage": they are adult children ("only children") themselves. The children are unusually bright, but their development, like their parents’, is impeded by complex psychological issues. Yglesias writes with insight, showing how true adulthood comes with self-awareness, pain, and understanding. Definitely recommended.Ellen R. Cohen, Rockville, Md.

Copyright 1988 Reed Business Information, Inc.

"The new generation of twenty-first-century African writers have now come of age. Without a doubt Habila is one of the best." — Emmanuel Dongala

In the oil-rich and environmentally devastated Nigerian Delta, the wife of a British oil executive has been kidnapped. Two journalists-a young upstart, Rufus, and a once-great, now disillusioned veteran, Zaq-are sent to find her. In a story rich with atmosphere and taut with suspense, Oil on Water explores the conflict between idealism and cynical disillusionment in a journey full of danger and unintended consequences.

As Rufus and Zaq navigate polluted rivers flanked by exploded and dormant oil wells, in search of "the white woman," they must contend with the brutality of both government soldiers and militants. Assailed by irresolvable versions of the "truth" about the woman's disappearance, dependent on the kindness of strangers of unknowable loyalties, their journalistic objectivity will prove unsustainable, but other values might yet salvage their human dignity.

Los Angeles. A would-be movie reviewer, looking for romance, takes an assignment to write a magazine article about celebrity look-alikes. After getting to know a Steve Martin impersonator, the writer decides to undertake his own process of transformation and becomes not Steve Martin but a version of him — graceful, charming, at home in the world. Safe in the guise of “Steve,” he begins to fall in love. And that’s when “Steve” takes over. Set in the capital of illusion, this is a story of one man’s journey into paradise — and his attempt to come out the other side.

These twelve stories are set in Paris, Mavis Gallant’s adopted home, a city whose nuances she brings to life through a wide range of characters: squabbling writers, bewildered parents, scheming art dealers, beleaguered tenants, and feckless drifters. An artist’s widow proves more than a match for Sandor Speck, who hopes to make a name for himself with her late husband’s paintings. Literary rivals Prism and Grippes, the protégés of a rich, misguided American patron, battle across the years. And in the Magdalena stories, a man is caught in the pull of loyalties between his beautiful first wife from a marriage of political conscience, and the woman he truly loves. Elegant, concise, finely textured, these stories never relax the tension between detachment and compassion, understanding and mystery, memory and truth. With remarkable intelligence and an unfailing eye for the telling detail, Gallant weaves stories of intricate simplicity and spare complexity.

A new novel from award-winning Lebanese writer Iman Humaydan. Did I live many lives or only one life enough for many women? asks Miriyam in Other Lives. This third novel by Lebanese writer, Iman Humaydan, starkly and poignantly demonstrates how war, violence and dislocation have an impact not only on the lives of people who live through them but what life itself means, particularly for women. In Other Lives, Miriyams travels take her from her Shouf mountain village to Beirut, Melbourne and Paradise, Australia to Nairobi, Mombasa and Cape Town. Unwilling to be tied down by geography, language or men, Miriyam forges a path through the world that is at once hers uniquely and also deeply informed by her lifes experiences. Again and again, she is drawn back to the Lebanon of her birth and childhood, only to find it no longer there. She is forced to confront the ghosts of the civil warher dead brother, her disappeared lover, and the life that she left behind when she immigrated to Australia. Humaydan deftly explores one womans negotiation of love and war, intimacy and loss, migration and home in a way that speaks beyond individual but to a collective experience.

From the widely acclaimed writer, a beguiling new novel, at once wistful and ribald, about a day in the life of two Indian men in London-a university student and his bachelor uncle-each coping in his own way with alienation, solitariness, and the very art of living.

It is 1985. Twenty-two-year-old Ananda has been in London for two years, practicing at being a poet. He's homesick, thinks of himself as an inveterate outsider, and yet he can't help feeling that there's something romantic, even poetic, in his isolation. His uncle, Radhesh, a magnificent failure who lives in genteel impoverishment and celibacy, has been in London for nearly three decades. Odysseus Abroad follows them on one of their weekly, familiar forays about town. The narrative surface has the sensual richness that has graced all of Amit Chaudhuri's work. But the great charm and depth of the novel reside in Ananda's far-ranging ruminations (into the triangle between his mother, father, and Radhesh-his mother's brother, his father's best friend; his Sylheti/Bengali ancestry; the ambitions and pressures that rest on his shoulders); in Radhesh's often artfully wielded idiosyncrasies; and in the spiky, needful, sometimes comical, yet ultimately loving connection between the two men.

“Today an unusually gifted generation is entering Russian literature…. Literature has not seen such an influx of energy in a long time.”

—Olga Slavnikova, director of the Debut Prize

By and about Russian hitchhikers, these stories take the reader along the endless roads of central Russia, the Urals, the Altai, Siberia, and beyond. In energetic and vivid prose they depict all sorts of curious Russian types: exotic adventures in far-flung places, the complex psychological relationships that develop on the road, and these hitchhikers’ inexplicable passion for tramping. “In via veritas” is their motto. The authors are all winners of the Debut Prize, and will present the book at BEA in 2012 in New York.

Irina Bogatyreva lives in Moscow. She has won several prizes, including the Debut, for her novel AUTO-STOP. She has several published books to her credit.

Tatiana Mazepina is the latest Debut Prize winner. She is a member of the “Society of Free Travellers”. She works as a journalist and writes on religious matters.

Igor Savelyev lives in Ufa (Bashkiria) where he works as a crime reporter. He is the winner of the Debut Prize and several other prizes.

A thrilling, plot-twisting novel from the author of Restless, a national bestseller and winner of the Costa Novel of the Year Award.

It is May in Chelsea, London. The glittering river is unusually high on an otherwise ordinary afternoon. Adam Kindred, a young climatologist in town for a job interview, ambles along the Embankment, admiring the view. He is pleasantly surprised to come across a little Italian bistro down a leafy side street. During his meal he strikes up a conversation with a solitary diner at the next table, who leaves soon afterwards. With horrifying speed, this chance encounter leads to a series of malign accidents through which Adam will lose everything — home, family, friends, job, reputation, passport, credit cards, mobile phone — never to get them back.

A heart-in-mouth conspiracy novel about the fragility of social identity, the corruption at the heart of big business and the secrets that lie hidden in the filthy underbelly of the everyday city.

Wiliam Boyd, winner of the Whitbread and Somerset Maugham Awards, introduces unlikely heroes desperate to redeem their unsatisfying lives.

From California poolsides to the battlegrounds of Vietnam, here is a world populated by weary souls who turn to fantasy as their sole escape from life's inequities. Stranded in an African hotel during a coup, an oafish Englishman impresses a young stewardess with stories of an enchanted life completely at odds with his sordid existence in "The Coup." In the title story, an arrogant, sadistic American pilot in Vietnam underestimaets the power of revenge when he relentlessly persecutes a member of his maintenance crew. With droll humor and rare compassion, Boyd's enthralling stories remind us of his stature as one of contemporary fiction's finest storytellers.

A collection of interwoven stories, this is a portrait of two worlds — a small Alpine village bound to the earth and by tradition, and the restless, future-driven culture that will invade it — at their moment of collision. The instrument of entrapment is love. Lives are lost and hearts broken.

Tokyo, 1940. While Japan's war against China escalates, young Yuji Takano clings to his cocooned life: his beloved evenings of French conversation at Monsieur Feneon's, visits to the bathhouse with friends, his books, his poetry. But conscription looms and the mood turns against foreigners, just when Yuji gets entangled with Feneon's daughter. As the nation heads towards conflict with the Allies, Yuji must decide where his duty — and his heart — lies.

A spare yet eloquent, bittersweet yet inspiring story of a man and a woman who, in advanced age, come together to wrestle with the events of their lives and their hopes for the imminent future.

In the familiar setting of Holt, Colorado, home to all of Kent Haruf’s inimitable fiction, Addie Moore pays an unexpected visit to a neighbor, Louis Waters. Her husband died years ago, as did his wife, and in such a small town they naturally have known of each other for decades; in fact, Addie was quite fond of Louis’s wife. His daughter lives hours away in Colorado Springs, her son even farther away in Grand Junction, and Addie and Louis have long been living alone in houses now empty of family, the nights so terribly lonely, especially with no one to talk with.

Their brave adventures — their pleasures and their difficulties — are hugely involving and truly resonant, making Our Souls at Night the perfect final installment to this beloved writer’s enduring contribution to American literature.

"Beautiful, inventive, ambitious and nuts."-"The Times" (London)

"Our nearest contemporary equivalent to Blake, our sweetest-natured screwed-up visionary."-"London Evening Standard"

Alasdair Gray's unique melding of humor and metafiction at once hearken back to Laurence Sterne and sit beside today's literary mash-ups with equal comfort. "Old Men in Love" is smart, down-to-earth, funny, bawdy, politically inspired, dark, multi-layered, and filled with the kind of intertextual play that Gray delights in.

As with Gray's previous novel "Poor Things," several partial narratives are presented together. Here the conceit is that they were all discovered in the papers of the late John Tunnock, a retired Glasgow teacher who started a number of novels in settings as varied as Periclean Athens, Renaissance Florence, Victorian Somerset, and Britain under New Labour.

This is the first US edition (updated with the author's corrections from the UK edition) of a novel that British critics lauded as one of the best of Gray's long career. Beautifully printed in two colors throughout and featuring Gray's trademark strong design, "Old Men in Love" will stand out from everything else on the shelf. Fifty percent is fact and the rest is possible, but it must be read to be believed.

Alasdair Gray is one of Scotland's most well-known and acclaimed artists. He is the author of nine novels, including "Lanark," "1982 Janine," and the Whitbread and Guardian Prize-winning "Poor Things," as well as four collections of stories, two collections of poetry, and three books of nonfiction, including "The Book of Prefaces." He lives in Glasgow, Scotland.

Based on the author’s first-hand experience as an ambulance driver during World War I, this first novel is noteworthy for its vivid and colorful portrait of France at that time and for its passionate indictment of war. The author’s disillusionment with war, for a time, turned him toward socialism and against capitalism. Finally, after being labeled “pro-German” and “pacifist,” Dos Passos concluded that the quasi-religion of Marxism was far more brutal than “poor old Capitalism ever dreamed of.” Reprinted from the unexpurgated original edition published by Cornell University Press in 1969.

1921 reiste der später weltberühmte Autor John Dos Passos durch den Orient – schon damals eine hochexplosive Gegend – und hielt seine Eindrücke in einem Tagebuch fest. Diese abenteuerliche Reise führte den damals 25-Jährigen von der Türkei über Georgien, Armenien, den Iran und den Irak bis nach Syrien. Sein packender Bericht liest sich wie eine Mischung aus Abenteuerroman und der hellsichtigen Analyse eines dramatischen Umbruchs, der bis heute fortwirkt. Geschrieben in knapper Präzision, mit ansteckender Neugier und Beobachtungsgabe, ist das Werk, mit dem Dos Passos dabei war, zu einem der wichtigsten Schriftsteller der amerikanischen Moderne zu werden, jetzt erstmals auf Deutsch zu entdecken.

1921 reiste der später weltberühmte Autor John Dos Passos durch den Orient – schon damals eine hochexplosive Gegend – und hielt seine Eindrücke in einem Tagebuch fest. Diese abenteuerliche Reise führte den damals 25-Jährigen von der Türkei über Georgien, Armenien, den Iran und den Irak bis nach Syrien. Sein packender Bericht liest sich wie eine Mischung aus Abenteuerroman und der hellsichtigen Analyse eines dramatischen Umbruchs, der bis heute fortwirkt. Geschrieben in knapper Präzision, mit ansteckender Neugier und Beobachtungsgabe, ist das Werk, mit dem Dos Passos dabei war, zu einem der wichtigsten Schriftsteller der amerikanischen Moderne zu werden, jetzt erstmals auf Deutsch zu entdecken.

The patients of the Sacred Heart Hospital for All Ailments are looking for a miracle, and Alice Bhatti is looking for a job.

Alice is a candidate for the position of junior nurse, grade 4. It is only a few weeks since her release from Borstal. She has returned to her childhood home in the French Colony, where her father, recently retired from his position as chief janitor, continues as part-time healer, and full-time headache for the local church. It seems she has inherited some of his gift.With guidance from the working nurse’s manual, and some tricks she picked up in prison, Alice brings succour to the thousands of patients littering the hospital’s corridors and concrete courtyard. In the process she attracts the attention of a lovesick patient, Teddy Bunt, apprentice to the nefarious ‘Gentleman Squad’ of the Karachi police. They fall in love; Teddy with sudden violence, Alice with cautious optimism.Their love is unexpected, but the consequences are not.

Alice soon finds that her new life is built on foundations as unstable as those of her home. A Catholic snubbed by other Catholics, who are in turn hated by everyone around them, she is also put at risk by her husband, who does two things that no member of the Gentlemen Squad has ever done — fall in love with a working girl, and allow a potentially dangerous suspect to get away. Can Teddy and Alice ever live in peace? Can two people make a life together without destroying the very thing that united them? It seems unlikely, but then Alice Bhatti is no ordinary nurse…

Filled with wit, colour and pathos, Our Lady of Alice Bhatti is a glorious story of second chances, thwarted ambitions and love in unlikely places, set in the febrile streets of downtown Karachi. It is the remarkable new novel from the author of A Case of Exploding Mangoes.

La romano"Ojstro" far anglino Ethel Lilian Voynich (Etelo Liliano Vojniĉ) aperis en 1887 kaj jam en 1898 estis tradukita en la rusan, post ĝiaj eldonoj en Usono kaj Anglio, kaj tuj iĝis plej ŝatata libro de avangarda rusa junularo.

Komence de la 19-a jarcento, post forpelo de la napoleona armeo, la tuta Italio estis disigita je ok separataj ŝtatoj kaj fakte okupita de aŭstraj militistoj. Ĉiu ŝtato havis proprajn limojn, doganejojn, monon ktp. Progresemaj homoj de Italio komprenis necesecon de unuigo de la lando kaj batalis pro la nacia sendependeco. Ties celo efektivigis nur en 1870.

Eventoj de la romano "Ojstro" komencas en 1833. Juna kaj naiva Arturo Berton (Arthur Burton), studanta filozofion en Pisa, decidas dediĉi sian vivon al batalo kontraŭ eksterlandaj okupantoj pro liberigo de Italio. Devizo de societo, al kiu li aliĝis, estis "Pro Dio kaj la popolo, nun kaj por ĉiam!". Arturo sekvas ĝin. Ja Kristo pereis pro savo de homoj. Sed konfesprenanto informas policon lian sekreton, diritan dum la konfeso. Lia amatino Gemo (Gemma) opinias, ke Arturo estas perfidulo kaj vangofrapas lin. Samtempe li ekscias, ke pastro Montanelli estas lia reala patro. Nesukcesinte eltoleri tiujn turmentojn, Arturo kvazaŭ dronigas sin en la rivero, kaj penetras la ŝipon naĝantan en Sudan Amerikon.

En 1846, timiĝinta pro publika indigno, papo Pius IX kvazaŭ realigis iun postulojn de la popolo: estis liberigitaj iuj politikaj arestitoj, cenzuro ne tro furioze premis ĉiun liberan vorton, sed entute tiama amnestio, certe, neniel plibonigis staton de la loĝantaro.

Tiutempe en Florencon venas riĉa ĵurnalisto Felico Rivarez, laŭ invito de membroj de loka societo "Juna Italio". Laŭ ties peto li verkas satirajn pamfletojn, kies ĉefa celo iĝas kardinalo Montanelli. Liaj novaj geamikoj: Martini, Rikardo, Galli kaj Gemo nomas lin ankaŭ per pseŭdonimo "Ojstro". Gemon turmentas duboj, ĉar ŝi vidas multon komunan inter Ojstro kaj Arturo.

Antaŭ pafmortigo Ojstro konfesas al pastro Montanelli, ke li estas Arturo, ke li ne dronis. Li tre amas sian patron, sed ne povas pardoni ties trompon. Li ankaŭ tre amas Gemon, sed ne povas pardoni ŝian vangofrapon. Por li gravas ne la insulto mem, sed tio, ke ŝi ekdubis pri liaj honesto, kuraĝo kaj fideleco al sia kredo, kaj tion li pardonas al neniu.

Oreo is raised by her maternal grandparents in Philadelphia. Her black mother tours with a theatrical troupe, and her Jewish deadbeat dad disappeared when she was an infant, leaving behind a mysterious note that triggers her quest to find him. What ensues is a playful, modernized parody of the classical odyssey of Theseus with a feminist twist, immersed in seventies pop culture, and mixing standard English, black vernacular, and Yiddish with wisecracking aplomb. Oreo, our young hero, navigates the labyrinth of sound studios and brothels and subway tunnels in Manhattan, seeking to claim her birthright while unwittingly experiencing and triggering a mythic journey of self-discovery like no other.

An Omnibus Edition of Three Classic Early Novels from the Critically Acclaimed Author of Cloudsplitter and Affliction.

Family Life: Russell Banks's first novel is an adult fairy tale of a royal family in a mythical contemporary kingdom where the myriad dramas of domesticity blend with an outrageous slew of murders, mayhem, coups, debauches, world tours, and love in all guises, transcendent or otherwise.

Hamilton Stark: This tale of a solitary, boorish, misanthropic New Hampshire pipe fitter — the sole inhabitant of the house from which he evicted his own mother — is at once a compelling meditation on identity and a thoroughly engaging story of life on the cold edge of New England.

The Relation of My Imprisonment: Utilizing a form invented by imprisoned seventeenth-century Puritan divines — an utterly sincere and detailed, if highly artificial, recounting of great suffering — Banks's novel is a remarkably inventive, lovingly good-humored argument, exploration, and map of the caged religious mind.

A pro softball player, an alcoholic husband, a drug deal out of town, and buried treasure — the postmodern and vibrantly pulpy debut novel from Hob Broun.

The heroine of Odditorium is Tildy Soileau, a professional softball player stuck in a down-and-out marriage in South Florida. Leaving her husband to his own boozy inertia, she jumps at the chance to travel to New York with Jimmy Christo, only recently released from a mental institution, and make some much-needed cash on a drug deal.

Adventure is just as much a motivating force, though, and Tildy quickly gets involved with a charismatic drug dealer; meanwhile, in carrying out business, Jimmy is dangerously sidetracked in Tangier. By the time the two are back in Florida, a financial boon greets them, but here, too, trouble is in the wings. Formally daring and full of jolts of the unexpected, Odditorium is an addictive romp through shady realms.

In the stories that make up Oblivion, David Foster Wallace joins the rawest, most naked humanity with the infinite involutions of self-consciousness-a combination that is dazzlingly, uniquely his. These are worlds undreamt-of by any other mind. Only David Foster Wallace could convey a father's desperate loneliness by way of his son's daydreaming through a teacher's homicidal breakdown ("The Soul Is Not a Smithy"). Or could explore the deepest and most hilarious aspects of creativity by delineating the office politics surrounding a magazine profile of an artist who produces miniature sculptures in an anatomically inconceivable way ("The Suffering Channel"). Or capture the ache of love's breakdown in the painfully polite apologies of a man who believes his wife is hallucinating the sound of his snoring ("Oblivion"). Each of these stories is a complete world, as fully imagined as most entire novels, at once preposterously surreal and painfully immediate.

Greeted as a masterpiece when it was first published in 1966, Omensetter's Luck is the quirky, impressionistic, and breathtakingly original story of an ordinary community galvanized by the presence of an extraordinary man. Set in a small Ohio town in the 1890s, it chronicles — through the voices of various participants and observers — the confrontation between Brackett Omensetter, a man of preternatural goodness, and the Reverend Jethro Furber, a preacher crazed with a propensity for violent thoughts. Omensetter's Luck meticulously brings to life a specific time and place as it illuminates timeless questions about life, love, good, and evil.

Sabine is the most mercurial woman Peter Thorpe has ever known. Such is his desire for her that he overturns his whole life — his disillusioned merchant-banker’s life — and leaves everything behind, not caring that his lover is of no fixed address, nor that his search for her will take him to the beating heart of New Ageism in northern California.Each of his fellow seekers is in hot pursuit of that elusive something (happiness?), and in their eccentric company Peter stumbles across vistas he had never before dared to imagine. .‘St Aubyn has achieved a comic novel which is more than a send-up and carries the message that love is not quite all you need’ Independent‘An intellectually informed, richly insightful and vigorously funny take on the modern condition’ Sunday Times‘Pierced with goodwill, tenderness and a new kind of thoughtfulness’ Spectator‘His satire is unfailingly funny and immensely satisfying’ Guardian

“A literary titan of his time, one of the most innovative novelists in contemporary Latin American letters.” — The Washington Post

The most distinctive thing about the Gamal sisters is that they are, essentially, indistinguishable (except for a modest mole). The twin spinsters spend their time trying to mask any perceptible differences they have while working hard at their thriving tailoring business in a small town in rural northern Mexico. When? Thirty years ago? Fifty years ago? Who can say — the world seems not to intrude on Ocampo very much.

Gloria and Constitution take an almost perverse delight in confusing people about which one is which. But then a suitor enters the picture, and one of the sisters decides that she doesn't want to live a life without romance and all the good things that come with it. The ensuing competition between the sisters brings their relationship to the breaking point until they come up with an ingenious solution that carries this buoyant farce to its tender and even liberating conclusion.

Suffused with the tension between our desire for union and our desire for independence, Daniel Sada's One Out of Two is a giddy and comic fable by one of the giants of contemporary Latin American literature.

On the Edge is a monumental fresco of a brutal contemporary Spain in free fall.

On the Edge opens with the discovery of a rotting corpse in the marshes on the outskirts of Olba, Spain — a town wracked by despair after the burst of the economic bubble, and a microcosm of a world of defeat, debt, and corruption. Stuck in this town is Esteban — his small factory bankrupt, his investments stolen by a “friend,” and his unloved father, a mute invalid, entirely his personal burden. Much of the novel unfolds in Esteban’s raw and tormented monologues. But other voices resound from the wreckage — soloists stepping forth from the choir — and their words, sharp as knives, crowd their terse, hypnotic monologues of ruin, prostitution, and loss.

Chirbes alternates this choir of voices with a majestic third-person narration, injecting a profound and moving lyricism and offering the hope that a new vitality can emerge from the putrid swamps. On the Edge, even as it excoriates, pulsates with robust life, and its rhythmic, torrential style marks the novel as an indelible masterpiece.

Sir Edward Feathers has had a brilliant career, from his early days as a lawyer in Southeast Asia, where he earned the nickname Old Filth (FILTH being an acronym for Failed In London Try Hong Kong) to his final working days as a respected judge at the English bar. Yet through it all he has carried with him the wounds of a difficult and emotionally hollow childhood. Now an eighty-year-old widower living in comfortable seclusion in Dorset, Feathers is finally free from the regimen of work and the sentimental scaffolding that has sustained him throughout his life. He slips back into the past with ever mounting frequency and intensity, and on the tide of these vivid, lyrical musings, Feathers approaches a reckoning with his own history. Not all the old filth, it seems, can be cleaned away.

Borrowing from biography and history, Jane Gardam has written a literary masterpiece reminiscent of Rudyard Kipling's Baa Baa, Black Sheep that retraces much of the twentieth century's torrid and momentous history. Feathers' childhood in Malaya during the British Empire's heyday, his schooling in pre-war England, his professional success in Southeast Asia and his return to England toward the end of the millennium, are vantage points from which the reader can observe the march forward of an eventful era and the steady progress of that man, Sir Edward Feathers, Old Filth himself, who embodies the century's fate.

A young man rushes to the bedside of his ex, knowing the baby she's having is not his own. Travelling colleagues experience an eerie moment of truth when a fire starts in their hotel. A misdirected parcel sets off a complex psychodrama involving two men, a woman and a dog… Andrew Fox's clever, witty, intense and thoroughly entertaining stories capture the passions and befuddlements of the young and rootless, equally dislocated at home and abroad. Set in America and Ireland — and, at times, in jets over the Atlantic — Over Our Heads showcases a brilliant new talent.

From the critically acclaimed author of the novel The Good Brother and memoir My Father the Pornographer, Out of the Woods is Chris Offutt’s fiercely original short story collection the New York Times calls “a magical book”.

Arriving seven years after Offutt’s debut collection Kentucky Straight, Out of the Woods returns a masterly writer to the form which garnered him not only critical praise but many prestigious awards. Offutt, who “draws landscape and constructs dialogue with the eyes and ears of a native son” (The Miami Herald), is on strong home turf here, capturing those who have left the Kentucky hills and long to return. These nine stories of gravediggers and drifters, gamblers and truck drivers a long way from home, are tales so full of hard edges they can't help but tell some hard truths.

In one of the first twenty-first century Russian novels to probe the legacy of the Soviet prison camp system, a young man travels to the vast wastelands of the Far North to uncover the truth about a shadowy neighbor who saved his life, and whom he knows only as Grandfather II. What he finds, among the forgotten mines and decrepit barracks of former gulags, is a world relegated to oblivion, where it is easier to ignore both the victims and the executioners than to come to terms with a terrible past. This disturbing tale evokes the great and ruined beauty of a land where man and machine worked in tandem with nature to destroy millions of lives during the Soviet century. Emerging from today’s Russia, where the ills of the past are being forcefully erased from public memory, this masterful novel represents an epic literary attempt to rescue history from the brink of oblivion.

Sergei Lebedev was born in Moscow in 1981 and worked for seven years on geological expeditions in northern Russia and Central Asia. His first novel, Oblivion, has been translated into many languages.

In one of the first twenty-first century Russian novels to probe the legacy of the Soviet prison camp system, a young man travels to the vast wastelands of the Far North to uncover the truth about a shadowy neighbor who saved his life, and whom he knows only as Grandfather II. What he finds, among the forgotten mines and decrepit barracks of former gulags, is a world relegated to oblivion, where it is easier to ignore both the victims and the executioners than to come to terms with a terrible past. This disturbing tale evokes the great and ruined beauty of a land where man and machine worked in tandem with nature to destroy millions of lives during the Soviet century. Emerging from today’s Russia, where the ills of the past are being forcefully erased from public memory, this masterful novel represents an epic literary attempt to rescue history from the brink of oblivion.

Sergei Lebedev was born in Moscow in 1981 and worked for seven years on geological expeditions in northern Russia and Central Asia. His first novel, Oblivion, has been translated into many languages.

fiction, prose, Women Writers

From the towers of Manhattan to the ruins of Greece, from Nuremberg to Vietnam, Swift takes readers on an intensely moving journey of conflict, loss and the small miracles of love.

Breakfast’s boiled egg, the overhead hum of fluorescent lights, the midmorning coffee break — daily routines keep the world running. But when people are pushed — by a coworker’s taunt, a face-to-face encounter with a woman in free fall from a bridge — cracks appear, revealing alienation, casual cruelty, madness, and above all a simultaneous hunger for and fear of the unknown.

Daniel Orozco leads the reader through the hidden lives and moral philosophies of bridge painters, men housebound by obesity, office temps, and warehouse workers. He reveals the secret pleasures of late-night supermarket trips for cookie binges, exceptional data entry, and an exiled dictator’s occasional piss on the U.S. embassy. A love affair blooms between two officers in the impartially worded pages of a police blotter; a new employee’s first-day office tour includes descriptions of other workers’ most private thoughts and actions; during an earthquake, the consciousness of the entire state of California shakes free for examination.

Orientation introduces a writer at the height of his powers, whose work surely invites us to reassess the landscape of American fiction.

Amir and Effi collected relatives. With Holocaust survivors for parents and few other 'real' relatives alive, relationships operated under a "Law of Compression" in which tenuous connections turned friends into uncles, cousins and grandparents. Life was framed by Grandpa Lolek, the parsimonious and eccentric old rogue who put his tea bags through Selektion, and Grandpa Yosef, the neighborhood saint, who knew everything about everything, but refused to talk of his own past. Amir and Effi also collected information about what happened Over There. This was more difficult than collecting relatives; nobody would tell them any details because they weren't yet Old Enough. The intrepid pair won't let this stop them, and their quest for knowledge results in adventures both funny and alarming, as they try to unearth their neighbors' stories. As Amir grows up, his obsession with understanding the Holocaust remains with him, and finally Old Enough to know, the unforgettable cast of characters that populate his world open their hearts, souls, and pasts to him… Translated by Jessica Cohen from the Hebrew Shoah Shelanu.

Our Young Man follows the life of a gorgeous Frenchman, Guy, as he goes from the industrial city of Clermont-Ferrand to the top of the modeling profession in New York City's fashion world, becoming the darling of Fire Island's gay community. Like Wilde's Dorian Grey, Guy never seems to age; at thirty-five he is still modeling, still enjoying lavish gifts from older men who believe he's twenty-three-though their attentions always come at a price. Ambivalently, Guy lets them believe, driven especially by the memory of growing up poor, until he finds he needs the lie to secure not only wealth, but love itself. Surveying the full spectrum of gay amorous life through the disco era and into the age of AIDS, Edmund White (who worked at Vogue for ten years) explores the power of physical beauty-to fascinate, to enslave, and to deceive-with sparkling wit and pathos.

« Pour mon malheur, le questionnement grâce auquel je me suis fait un nom dans la presse écrite, à la radio et à la télévision, s'est étendu à ma vie privée. Je souffre d'une maladie chronique que j'appelle la "questionnite". Son symptôme est évident, identifié de tous mes proches : je n'arrête pas de leur poser des questions. Je ne peux pas m'en empêcher. C'est plus fort que moi. C'est une seconde nature. Je suis en état de perpétuelle curiosité. Et de manque si je n'arrive pas à la satisfaire. Je ne suis pas le type qui se contente d'un machinal "Comment vas-tu ?". Je veux savoir. Quoi ? Peu importe, je veux savoir. Toute personne détient de grands et de petits secrets qu'elle n'entend pas divulguer, mais que mes questions peuvent l'amener à avouer. Il n'y a pas d'homme ou de femme sans double fond. Sans mystères, sans cachotteries, sans arrière-pensées. Moi, j'en ai. Beaucoup. Heureusement, je ne suis jamais tombé sur un loustic comme moi qui vous bombarde de questions et qui, à la longue, devient insupportable. » Adam Hitch est un journaliste dont la vie sentimentale est ravagée par son addiction aux questions. En racontant son histoire, avec humour et élégance, Bernard Pivot a-t-il écrit un roman ou son autobiographie ?

« Apostrophes », « Bouillon de culture » « Double je » et des années de chroniques littéraires, hier à Lire, aujourd'hui au Journal du dimanche, ont fait de Bernard Pivot un journaliste culturel aussi populaire que respecté. Ses derniers livres (Les mots de ma vie, 100 mots à sauver, 100 expressions à sauver parus chez Albin Michel et Le dictionnaire amoureux du vin paru chez Plon) ont rencontré un vif succès. Il est membre de l'Académie Goncourt. Suivez l'auteur sur son compte Twitter : https ://twitter.com/bernardpivot1

"An ambiguous tale that verges on dark comedy. With skill and subtlety, the novel hints that a whole society might labor under an illusion of liberty." — The Economist

When her partner disappears, a young woman drifts towards Open Door, a small town in the Argentinean Pampas named after its psychiatric hospital. She finds herself living with an aging ranch-hand, although a local girl also proves irresistible.

Iosi Havilio bursts onto the Argentine literary scene after Open Door was highly praised by some of the country's most influential critics and writer, including Beatriz Sarlo and Rodolfo Fogwill.

One of Publishers Weekly's Best Summer Books 2016.

"Formally dazzling, playful and affecting, a new Oulipian classic." — Lauren Elkin, author of Flâneuse and The End of Oulipo?

This debut novel by mathematician and Oulipo member Michèle Audin retraces the lives of French mathematicians over several generations through World Wars I and II. The narrative oscillates stylistically from chapter to chapter — at times a novel, fable, historical research, or a diary — locking and unlocking codes, culminating in a captivating, original reading experience.

Michèle Audin is the author of several works of mathematical theory and history and also published a work on her anticolonialist father's torture, disappearance, and execution by the French during the Battle of Algiers.

With his New Directions debut in 1938, the twenty-five-year-old Delmore Schwartz was hailed as a genius and among the most promising writers of his generation. Yet he died in relative obscurity in 1966, wracked by mental illness and substance abuse. Sadly, his literary legacy has been overshadowed by the story of his tragic life.

Among poets, Schwartz was a prototype for the confessional movement made famous by his slightly younger friends Robert Lowell and John Berryman. While his stories and novellas about Jewish American experience laid the groundwork for novels by Saul Bellow (whose Humboldt’s Gift is based on Schwartz’s life) and Philip Roth.

Much of Schwartz’s writing has been out of print for decades. This volume aims to restore Schwartz to his proper place in the canon of American literature and give new readers access to the breadth of his achievement. Included are selections from the in-print stories and poems, as well as excerpts from his long unavailable epic poem Genesis, a never-completed book-length work on T. S. Eliot, and unpublished poems from his archives.

The thoughtful and unique new novel from the phenomenally popular author.

Journalist Kitty Logan's career has been destroyed by scandal, and she now faces losing the woman who guided and taught her everything she knew. At her mentor's bedside, Kitty asks her – what is the one story she always wanted to write?

The answer lies in a file buried in Constance's office: a list of one hundred names. There is no synopsis, no explanation, nothing else to explain what the story is or who these people are. The list is simply a mystery.

But before Kitty can talk to her friend, it is too late.

With everything to prove, Kitty is assigned the most important task of her life – to write the story her mentor never had the opportunity to. Kitty has to not only track down and meet the people on Constance's list, but find out what connects them. And, in the process of hearing ordinary people's stories, she uncovers Constance's – and starts to understand her own.

A preeminent work of modern Greek literature, this provocative novel poses difficult questions about the nation’s Nazi occupation and early Civil War years.

First published in 1994 to a storm of controversy, Thanassis Valtinos’s probing novel Orthokostá defied standard interpretations of the Greek Civil War. Through the documentary-style testimonies of multiple narrators, among them the previously unheard voices of right-wing collaborationists, Valtinos provides a powerful, nuanced interpretation of events during the later years of Nazi occupation and the early stages of the nation’s Civil War. His fictionalized chronicle gives participants, victims, and innocent bystanders equal opportunity to bear witness to such events as the burning of Valtinos’s home village, the detention and execution of combatants and civilians in the monastery of Orthokostá, and the revenge killings that ensued.

As a transforming work of literature, this book redefined established methods of fiction; as a work of revisionist history, it changed the way Greece understands its own past. Now, through this masterful translation of Orthokostá, English-language readers have full access to the tremendous vitality of Valtinos’s work and to the divisive Civil War experiences that continue to echo in Greek politics and events today.

A young boy has fled his home. Crouched in his hiding place he hears the shouts of the men hunting him. When the search party has passed, what lies before him is an infinite, arid plain, one he must cross in order to escape those from whom he’s fleeing. One night he crosses paths with an old goatherd and from that moment nothing will ever be the same for either of them.

Out in the Open tells the story of a boy in a drought-stricken country ruled by violence. A closed world where names and dates don’t matter, where morals have drained away with the water. In this landscape the boy, not yet a lost cause, has the chance to learn the painful basics of judgement, or to live out forever the violence with which he grew up.

"Scandinavia now has its own Virginia Woolf. Few get as close to the human mind as Klougart" — Mari Nymoen Nilsen, VG

The English-language debut from one of Denmark's most exciting, celebrated young writers, One of Us Is Sleeping is a haunting novel about loss in all its forms.

Working in the vein of Anne Carson, Josefine Klougart's novel is both true-to-life and incredibly poetic in its relating of a brief, intense love affair and the grief and disillusionment that follow its end. While she recounts the time with her lover, the narrator is also heading back home, where her mother is dying of cancer. This contrast between recollection and the belief that certain things will always be present in your life — your parents, your childhood home, your love — and the fact that life is a continual series of endings runs throughout the book, underpinning the striking imagery and magnificent prose.

A powerful novel that earned Klougart numerous accolades and several award nominations — including the Readers Book Award—One of Us Is Sleeping marks the launch of a major new voice in world literature.

Josefine Klougart has been hailed as one of Denmark's greatest contemporary writers. She is the first Danish author ever to have two of her first three books nominated for the Nordic Council Literature Prize. She's been compared to a range of authors, including Joan Didion, Anne Carson, and Virginia Woolf.

Martin Aitken has translated dozens of books from the Danish, including works by Dorthe Nors, Jussi Adler-Olsen, Peter Høeg, and Kim Leine, among others.

Open Heart is a psychological tour de fource about love and the nature of man's soul. From the opening lines of this first-person narrative, the reader is propelled into the mind of Dr. Benjamin Rubin, an ambitious young internist, who is jockeying for position with the hospital's top surgeons. But it isn't until Benjy learns that his position has been terminated, and that he has been selected to accompany the hospital administrator and his wife to India to retrieve their ailing daughter, that Yehoshua sets his hero on a journey of self-discovery.

“A literary event” (Frankfurter Allgemeine Zeitung): thirteen new stories from one of Germany’s finest writers.

New Year’s Eve 1999, Berlin. At a party to kick off the twenty-first century, Frank Reichert meets Julia, his lost love. Since their separation in the fall of 1989, he’s drifted through life like an exile, remaining apathetic toward the copy-shop business he started even as it flourishes apace. Nothing has the power to move him now: his whole life lies under the shadow of Julia, of the idea that things could have worked out differently. But as night draws on to day, the promised end becomes an unexpected new beginning.

Ingo Schulze introduces us to characters as they stray outside the confines of East Germany into other, newer lives — into Egypt, where the betrayal of a lover turns an innocent vacation into a nightmare; into Vienna, where life starts to mimic art; into Estonia, where we meet a retired circus bear in an absurd (and absurdly hilarious) dilemma — or as they simply stay put, struggling to maintain their sense of themselves as the world around them changes.

Mixed in with these tragicomic tales are some of the most beautiful love stories ever to feature cell phones. And throughout, Schulze’s masterfully controlled style conceals an understated, but finally breathtaking, intricacy.

A grieving son explores his father's identity as a quiet family man, traveling salesman, and World War II hero, and forms an understanding about human greatness in both war and peace times. By the Goncourt prize-winning author of Fields of Glory.

The dazzling new novel, evoking the strange and thrilling world of the Victorian carnival, from the Man Booker-shortlisted author of Jamrach's Menagerie.

A life in the spotlight will keep anyone hidden

Julia Pastrana is the singing and dancing marvel from Mexico, heralded on tours across nineteenth-century Europe as much for her talent as for her rather unusual appearance. Yet few can see past the thick hair that covers her: she is both the fascinating toast of a Governor's ball and the shunned, revolting, unnatural beast, to be hidden from children and pregnant women.

But what is her wonderful and terrible link to Rose, collector of lost treasures in an attic room in modern-day south London? In this haunting tale of identity, love and independence, these two lives will connect in unforgettable ways.

У меня есть все, о чем мечтает, каждая девушка. Десять лет назад, я не имела ничего - лишь дружбу и любовь всего лишь одного человечка. Нам было по девять, но это не так важно.  Он был моим щитом, от насмешек в приюте, был моим теплом, моим защитником, моим домом.  Эштон был моим лучшим другом. До тех пор, пока однажды все не изменилось, и на долгие годы, судьба разлучила нас, а в его сердце поселилась ненависть ко мне.  Я хочу увидеть в его глазах мальчика из прошлого, но теперь я вижу там лишь... чудовище.  Мы не должны были снова встретиться. Но так случилось, и с этого и началась моя история...

If your children were forced to testify against you, what terrible secrets would they reveal?

Moscow 1945. As Stalin and his courtiers celebrate victory over Hitler, shots ring out. On a nearby bridge, a teenage boy and girl lie dead.

But this is no ordinary tragedy and these are no ordinary teenagers, but the children of Russia’s most important leaders who attend the most exclusive school in Moscow.

Is it murder? A suicide pact? Or a conspiracy against the state?

Directed by Stalin himself, an investigation begins as children are arrested and forced to testify against their friends – and their parents. This terrifying witch-hunt soon unveils illicit love affairs and family secrets in a world where the smallest mistakes can be punished with death.

A new translation of a  forgotten masterpiece of German World War I literature, based on the author’s own first-hand experiences of combat.

“The war, an operation instigated by men, still felt to him like a storm decreed by fate, an unleashing of powerful elements, unaccountable and beyond criticism.”

Arnold Zweig’s novel was first published in 1933 and is based on his own experiences in the German army during World War I. Following the unlawful killing of his younger brother by his own superiors, Lieutenant Kroysing swears revenge, using his influence to arrange for his brother’s unit, normally safely behind the lines, to be reassigned to the fortress at Douaument, in the very heart of the battle for France. Bertin, a lowly but educated Jewish sapper through whose eyes the story unfolds, is the innocent man caught in the cross-fire.

The book not only explores the heart-breaking tragedy of one individual trapped in a nightmare of industrialized warfare but also reveals the iniquities of German society in microcosm, with all its injustice, brutality, anti-Semitism, and incompetence. A brilliant translation captures all the subtleties, cadences, and detachment of Zweig’s masterful prose.

A new translation of a  forgotten masterpiece of German World War I literature, based on the author’s own first-hand experiences of combat.

“The war, an operation instigated by men, still felt to him like a storm decreed by fate, an unleashing of powerful elements, unaccountable and beyond criticism.”

Arnold Zweig’s novel was first published in 1933 and is based on his own experiences in the German army during World War I. Following the unlawful killing of his younger brother by his own superiors, Lieutenant Kroysing swears revenge, using his influence to arrange for his brother’s unit, normally safely behind the lines, to be reassigned to the fortress at Douaument, in the very heart of the battle for France. Bertin, a lowly but educated Jewish sapper through whose eyes the story unfolds, is the innocent man caught in the cross-fire.

The book not only explores the heart-breaking tragedy of one individual trapped in a nightmare of industrialized warfare but also reveals the iniquities of German society in microcosm, with all its injustice, brutality, anti-Semitism, and incompetence. A brilliant translation captures all the subtleties, cadences, and detachment of Zweig’s masterful prose.

« Quand j'ai compris que Mario était mort, tous les détails me sont revenus. Les gens racontaient cela en long et en large à ma grand-mère. Mario traversait le champ, un peu plus haut, à la sortie du village. Il cachait la bombe dans un sac, il courait. Peut-être qu'il s'est pris les pieds dans une motte de terre, et il est tombé. La bombe a explosé. On n'a rien retrouvé de lui. C'était merveilleux. C'était comme si Mario s'était envolé vers un autre monde, vers Ourania. Puis les années ont passé, j'ai un peu oublié. Jusqu'à ce jour, vingt ans après, où le hasard m'a réuni avec le jeune homme le plus étrange que j'aie jamais rencontré. »

C'est ainsi que Daniel Sillitoe, géographe en mission au centre du Mexique, découvre, grâce à son guide Raphaël, la république idéale de Campos, en marge de la Vallée, capitale de la terre noire du Chernozem, le rêve humaniste de l'Emporio, la zone rouge qui retient prisonnière Lili de la lagune, et l'amour pour Dahlia. »

J.M.G. Le Clézio.

From Publishers Weekly

In 1948, a 12-year-old boy named Fintan is sailing to Africa with his Italian mother to live with the British father he doesn't remember. At times, this French novel paints too precious a picture of the young Fintan and his mother, who occasionally writes down poetic bits like "In my hands I hold the prey of silence." The ship's voyage can drag, too, with too many hints about the characters' previous lives (upon learning that Fintan has contracted scabies, his mother cries out "A barnyard disease!"). But once the pair arrive in Onitsha, in Nigeria, Fintan's views of the colonial situation and the different ways that Europeans adapt to their surroundings prove fresh and valuable, though suffused with the unworldly morality of the innocent. He befriends Bony, the son of a fisherman, who teaches him a new way of seeing nature. The relationship between Fintan's parents crackles with difficulty as they attempt to readjust to each another after their long separation and as his mother strains against local customs. At a dinner party hosted by a man who has commissioned prisoners to dig a swimming pool, Fintan's mother insists that the chained prisoners be allowed something to eat and drink. Her request is met, but she is then ostracized by polite society. Eventually, Fintan's father loses his job with the United Africa Company and moves the family first to London, then to the south of France. Overall, this novel is choppy, but it generates waves that startle and surprise, and that push the reader from one page to the next.

From Library Journal

Often, looking through youthful eyes focuses readers directly on the brutal truths of such unsavory issues as racism. In this latest translation of a work by noted French author Le Clezio (following The Prospector, Godine, 1993), young Fintan realizes the horrors of racist, colonial society as he journeys with his much-beloved mother to Africa in 1948 to join his father, an agent for a trading company. Even before their ship has arrived, Fintan is becoming aware of Western intolerance of African people, beliefs, and language. The novel offers a compelling contrast between white mistreatment of Africans and the occasionally dangerous natural beauty surrounding the village of Onitsha on the banks of the Niger River. Fintan never forgets the harsh facts of his childhood years, and readers will not forget this novel.

It is the summer of 1997. In England, Alec Valentine is returning home to care for his ailing mother, Alice, a task that only reinforces his deep sense of inadequacy. In San Francisco, his older brother Larry prepares to come home as well, knowing it will be hard to conceal that his acting career is sliding toward sleaze and his marriage is faltering. In Paris, on the other hand, the Hungarian exile László Lázár, whose play Alec is translating, seems to have it all – a comfortable home, critical acclaim, a loving boyfriend, and a close circle of friends. Yet he cannot shake off the memories of the 1956 uprising and the cry for help he left unanswered. As these unforgettable characters soon learn, the moment has come to assess the turns taken and the opportunities missed. For each of them will soon take part in acts of liberation, even if they are not necessarily what they might have expected.

Evoking an extraordinary range of emotions and insights, Oxygen lives and breathes beyond the final page.

Weißrussland im 21. Jahrhundert. Ein aufwühlendes Buch über die Liebe, über Träume, über Macht und Missbrauch.

Weißrussland im Jahr 2004. Präsident Lukaschenka regiert das Land seit zehn Jahren mit harter Hand nach der Devise: »Mehr Ordnung anstelle von Demokratie.« Zeitungen werden verboten, oppositionelle Politiker verschwinden. Die Bevölkerung hat sich mit allem abgefunden, ertrinkt in einer Mischung aus Wodka und Fatalismus. Und Wasil, der Held des Romans, will seine Tante Alezja loswerden – und zwar für immer!

»Oktoberplatz« erzählt von der persönlichen und politischen Frustration, die den 30-jährigen Kulturjournalisten Wasil in Betrügereien, Inzest und Mord treibt.

Ein aufschlussreiches Buch über die letzte Diktatur Europas, über kapitalistische und sozialistische Verirrungen, über das Scheitern des Einzelnen am Kollektiv. Ein Coming-of-Age-Roman, der von den Leiden eines jungen Menschen erzählt, der in postkommunistischen Zeiten seinen Weg ins Leben sucht - und immer wieder gegen ein unverrückbares System anrennt.

Best Books of Summer 2018 Selection

• Vulture • Time • New York Post •

The debut of a major talent; a lyrical and emotional novel set in an archetypal small town in northeastern Ohio—a region ravaged by the Great Recession, an opioid crisis, and the wars in Iraq and Afghanistan—depicting one feverish, fateful summer night in 2013 when four former classmates converge on their hometown, each with a mission, all haunted by the ghosts of their shared histories.

Since the turn of the century, a generation has come of age knowing only war, recession, political gridlock, racial hostility, and a simmering fear of environmental calamity. In the country’s forgotten pockets, where industry long ago fled, where foreclosures, Walmarts, and opiates riddle the land, death rates for rural whites have skyrocketed, fueled by suicide, addiction and a rampant sense of marginalization and disillusionment. This is the world the characters in Stephen Markley’s brilliant debut novel, Ohio, inherit. This is New Canaan.

On one fateful summer night in 2013, four former classmates converge on the rust belt town where they grew up, each of them with a mission, all of them haunted by regrets, secrets, lost loves. There’s Bill Ashcraft, an alcoholic, drug-abusing activist, whose fruitless ambitions have taken him from Cambodia to Zuccotti Park to New Orleans, and now back to “The Cane” with a mysterious package strapped to the underside of his truck; Stacey Moore, a doctoral candidate reluctantly confronting the mother of her former lover; Dan Eaton, a shy veteran of three tours in Iraq, home for a dinner date with the high school sweetheart he’s tried to forget; and the beautiful, fragile Tina Ross, whose rendezvous with the captain of the football team triggers the novel’s shocking climax.

At once a murder mystery and a social critique, Ohio ingeniously captures the fractured zeitgeist of a nation through the viewfinder of an embattled Midwestern town and offers a prescient vision for America at the dawn of a turbulent new age.

“Has it ever occurred to you, Johann; the fact that we’re fighting on the wrong side?”

Austria, 1938

On the verge of the most devastating war of all times, four young men found themselves sharing a room in a flying school dormitory. A bohemian Berliner, a Flieger-Hitlerjugend member, a prodigy pilot, and a butcher’s son, with nothing in common but their love for the Luftwaffe and the freedom the sky has to offer. The bond they develop is put to the test by what might be a stronger adversary◦– war itself. Over the English Channel, in the dusty skies of Africa, on the brutal Eastern front, they will discover where their loyalty lies, and what true bravery means.

“It’s Großdeutsches Reich, soldier. When one has a family at home, it doesn’t leave him many chances for the revolt.”

As the war progresses, Willi and Johann grow more and more disillusioned with the regime they’re protecting with their lives. An SS unit appearing on their base to claim one of their own; bits of conversation revealing the truth about the extermination program accidentally overheard during the official reception◦– the pieces of the puzzle are slowly coming together, but it’s too late to do anything but fight to the bitter end, whatever it may bring.

Set during one of the bloodiest wars in history, “Of Knights and Dogfights” is the story of the shattered illusions of youth, tyranny and freedom, friendship and love guiding one out of the darkest hell of Soviet captivity.

“Has it ever occurred to you, Johann; the fact that we’re fighting on the wrong side?”

Austria, 1938

On the verge of the most devastating war of all times, four young men found themselves sharing a room in a flying school dormitory. A bohemian Berliner, a Flieger-Hitlerjugend member, a prodigy pilot, and a butcher’s son, with nothing in common but their love for the Luftwaffe and the freedom the sky has to offer. The bond they develop is put to the test by what might be a stronger adversary◦– war itself. Over the English Channel, in the dusty skies of Africa, on the brutal Eastern front, they will discover where their loyalty lies, and what true bravery means.

“It’s Großdeutsches Reich, soldier. When one has a family at home, it doesn’t leave him many chances for the revolt.”

As the war progresses, Willi and Johann grow more and more disillusioned with the regime they’re protecting with their lives. An SS unit appearing on their base to claim one of their own; bits of conversation revealing the truth about the extermination program accidentally overheard during the official reception◦– the pieces of the puzzle are slowly coming together, but it’s too late to do anything but fight to the bitter end, whatever it may bring.

Set during one of the bloodiest wars in history, “Of Knights and Dogfights” is the story of the shattered illusions of youth, tyranny and freedom, friendship and love guiding one out of the darkest hell of Soviet captivity.

Книга Тимура Бикбулатова «Opus marginum» содержит тексты, дефинируемые как «метафорический нарратив». «Все, что натекстовано в этой сумбурной брошюрке, писалось кусками, рывками, без помарок и обдумывания. На пресс-конференциях в правительстве и научных библиотеках, в алкогольных притонах и наркоклиниках, на художественных вернисажах и в ночных вагонах электричек. Это не сборник и не альбом, это стенограмма стенаний без шумоподавления и корректуры. Чтобы было, чтобы не забыть, не потерять…»