Seventy years later, released by widowhood, and to the dismay of her pompous children, she abandons the family home for a tiny house in Hampstead. Here she recollects the dreams of youth, and revels in her newfound freedom with her odd assortment of companions: Genoux, her French maid; Mr. Bucktrout, her house agent; and a coffin maker who pictures people dead in order to reveal their true characters. And then there's Mr. FitzGeorge, an eccentric millionaire who met and loved her in India when she was young and very lovely. It is here in this world of her own that she finds a passion that comes only with the freedom to choose, and it is this, her greatest gift, that she passes on to the only one who can understand its value. First published in 1931, Vita Sackville-West's masterpiece is the fictional companion to her great friend Virginia Woolf's A Room of One's Own.

    Gilgi is a secretary in a hosiery firm, but she doesn’t intend to stay there for long: she’s disciplined and ambitious, taking language classes, saving up money to go abroad, and carefully avoiding both the pawing of her boss and any other prolonged romantic entanglements. But then she falls in love with Martin, a charming drifter, and leaves her job for domestic bliss—which turns out not to be all that blissful– and Gilgi finds herself pregnant and facing a number of moral dilemmas.Revolutionary at the time for its treatment of sexual harassment, abortion, single motherhood, and the “New Woman,” Gilgi remains a perceptive and beautifully constructed novel about one woman’s path to maturity. It is presented here in its first-ever translation into English.

    Serge’s tale begins in the spring of 1917, the third year of mass slaughter in the blood-and-rain-soaked trenches of World War I, when the flames of revolution suddenly erupt in Russia and Spain. Although the Spanish uprising eventually fizzles, in Russia the workers, peasants, and common soldiers are able to take power and hold it. Serge’s “tale of two cities” is constructed from the opposition between Barcelona, the city “we” could not take, and Petrograd, the starving, beleaguered capital of the Russian Revolution besieged by counter-revolutionary Whites. Between the romanticism of radicalized workers awakening to their own power in a sun-drenched Spanish metropolis to the grim reality of workers clinging to power in Russia’s dark, frozen revolutionary outpost. The novel was composed a decade after the revolution in Leningrad, where Serge was living in semicaptivity because of his declared opposition to Stalin’s dictatorship over the revolution.