Pagnol brings to his treatment of this powerful, moving story his dramatist's sense of place, ambience, and character and his keen understanding of the Provencal countryside and its people. Rich with twists and ramifications, Jean de Florette and Manon of the Springs sets an idealistic city man against two secretive and deceitful Provencal country men in a superbly realized story of a struggle for life, of crime and punishment, of betrayal and revenge, and of judgment and forgiveness. In this edition, illustrated with images from the acclaimed film adaptation by Claude Berri, North Point presents Pagnol's enduring story in W.E. van Heyningen's exact and sensitive translation.Biblical in its cadences, epic in its sweep to destiny, and old fashioned in development of character and plot, this saga charts the destruction of a Provencal family.

    Violet eyes and a mane of golden hair win her the love of a duke and the admiration of a stupendously wealthy husband; but they cannot hold the one man whose love she needs about all…..

    For a New Novel reevaluates the techniques, ethos, and limits of contemporary fiction. This is a work of immense importance for any discussions of the history of the novel, and for contemporary thinking about the future of fiction.

    One day, when tidying Lady Dant's wardrobe, she comes across the most beautiful thing she has ever seen – a Dior dress. She's never seen anything as magical and she's never wanted anything as much. Determined to make her dream come true, Mrs Harris scrimps, saves and slaves away until one day, she finally has enough money to go to Paris. Little does she know how her life is about to be transformed forever …Mrs Harris's adventures take her from her humble Battersea roots to the heights of glamour in Paris and New York as she learns some of life's greatest lessons along the way.

    "The operation must be postponed," one general wrote. "We risk having the men refuse to leave the assault trenches." French soldiers cursed their commanders, drank openly in the trenches, singing ditties about war profiteers and wooden graveyard crosses. Their commanders were unable to stem the distribution of papillons, the pacifist leaflets that filled French barracks like white spring snow. As May 1917 approached, commanders adjusted to the troop upheavals, coining a euphemism ("collective indiscipline") to substitute for the more terrifying "mutiny". Long out of print, Richard M. Watt's engulfing narrative of the calamitous French army mutinies throws fresh light on the weakness of the Army of France in the last years of the war and, indirectly, on the importance of American intervention. Its argument dovetails smoothly with that of John Mosier's THE MYTH OF THE GREAT WAR, which has drawn so much recent attention.

    At first glance, the story seems to be as obviously and simply French as a pair of lovers sneaking off to a bedsitter in the Square St.-Lambert. Yet it is not only the Gallic spirit that intrigues Dutourd, but the human spirit as well.In the words of Diane Johnson: It is an incredible tour de force — a dialogue running to more than 600 pages, between two men who are walking through Paris, talking about the fate of a politician friend of theirs who was brought down by an erotic entanglement. Urbane, wise, humane, funny, even suspenseful — this is a worthy successor, as someone said, to Proust. Dutourd is the greatest living French novelist, and the only witty one since Proust; and before that? Voltaire? Laclos?

    Six weeks later he made landfall on the coast of Chile and, after a chance meeting, embarked on a 1000-mile cruise southwards to survey channels and fjords in Patagonia, one of the last uncharted areas in the world. From Chile he sailed north on the Humboldt current, then west through the tropics on the return passage to New Zealand, arriving home some 18 months after he had left.

    In these wise, reflective, warmhearted missives, Pissarro, called the father of Impressionism, presents the growth and development of Impressionism and the struggles of its practitioners, as well as pungent and evocative observations on the politics, literature, and daily life of France in the late 19th century. But more than anything, these letters reveal an artist elucidating the inner resources of his craft: Lucien Pissarro, a contemporary of van Gogh, Seurat, and Toulouse-Lautrec, was himself a student of painting, and it was to the young artist above all that his father communicated the unique and illuminating perspectives on art contained in these documents. Brilliantly annotated and introduced by the renowned art historian John Rewald, and featuring a new preface by Barbara Stern Shapiro, Curator for Special Projects at the Museum of Fine Arts, Boston, this edition of the Letters restores to print one of the most intimate and enjoyable views ever offered of the Impressionist period.