When one of Daphne's sisters dies, a crisis is provoked that leads Daphne to a mental asylum where she receives shock treatment. Her voice from "the Dead Room" haunts the novel with its poetic insights.

    Along with the four novels for which he is famous, this authoritative collection gathers his work in other genres, including stories, poetry, essays and plays, film scripts and treatments, and letters.When West died in a California highway accident in 1940 at the age of thirty-seven, his originality and brilliance were little known outside an intensely admiring circle of fellow writers: William Carlos Williams, Edmund Wilson, S. J. Perelman, and others. Not until West’s four novels were reissued in the late 1950s was he acknowledged as one of the most gifted writers of his generation. His masterpieces Miss Lonelyhearts and The Day of the Locust, with their blending of manic farce and despairing compassion, and their vision of an America awash in its own mass-produced fantasies, read like a prophecy of much that was to come in American literature and life.Each of West’s novels is distinct in style and theme. In the Dada-inspired The Dream Life of Balso Snell (1931), he freely mixes high-flown literary and religious allusions with erotic and scatological humor. Miss Lonelyhearts (1933) presents, in a series of grotesque, starkly etched episodes, the spiritual breakdown of a newspaper columnist overwhelmed by his readers’ suffering. By contrast, A Cool Million (1934) reduces the eternal optimism of Horatio Alger’s novels to a brutal, cartoonish farce. In his last work, The Day of the Locust (1939), West renders with hallucinatory precision the reverse side of the Hollywood dream, as he choreographs a cast of failures, has-beens, and deluded glamour-seekers in what becomes an apocalyptic dance of death.Also included is a generous sampling of West’s other surviving work, ranging from freewheeling improvisations and grotesque comic tales to more mainstream work written with Hollywood or Broadway in mind, and including his anti-war satire Good Hunting and his adaptation of Francis Ile’s famous crime novel Before the Fact. The uncollected West shows him as a writer who embodied the contradictions and crazy-quilt exuberance of American culture—and raises the question of how he might have developed had his career not been cut short. Selected correspondence with William Carlos Williams, F. Scott Fitzgerald, Malcolm Cowley, Bennett Cerf, and others rounds out the volume and sets West’s literary life in fuller context.

    First two robbers appear and hold him up; then things take a turn for the better when broken-nosed Frank Alpine becomes his assistant. But there are complications: Frank, whose reaction to Jews is ambivalent, falls in love with Helen Bober; at the same time he begins to steal from the store.Like Malamud’s best stories, this novel unerringly evokes an immigrant world of cramped circumstances and great expectations. Malamud defined the immigrant experience in a way that has proven vital for several generations of writers.

    Nobel Prize-winning author Isaac Bashevis Singer has created a vibrant, resonant, and provocative cast of characters in search of answers to life's greatest dilemmas, challenges, and ironies.

    The place is Alexandria, an Egyptian city that once housed the world's greatest library and whose inhabitants are dedicated to knowledge. But for the obsessed characters in this mesmerizing novel, their pursuits lead only to bedrooms in which each seeks to know--and possess--the other. Since its publication in 1957, Justine has inspired an almost religious devotion among readers and critics alike.

    Alfgrimur dreams only of becoming a fisherman like his adoptive grandfather, until he meets Iceland's biggest celebrity. The opera singer Gardar Holm’s international fame is a source of tremendous pride to tiny, insecure Iceland, though no one there has ever heard him sing. A mysterious man who mostly avoids his homeland and repeatedly fails to perform for his adoring countrymen, Gardar takes a particular interest in Alfgrimur’s budding musical talent and urges him to seek out the world beyond the one he knows and loves. But as Alfgrimur discovers that Gardar is not what he seems, he begins to confront the challenge of finding his own path without turning his back on where he came from.

    She knows she is different, that she is destined to become a feted authoress, owner of great riches and of Paradise House . . .After reading The Lady Irania, publishers Brace and Gilchrist are certain the novel will be a success, in spite of - and perhaps because of - its overblown style. But they are curious as to who could have written such a book: 'Some old lady, romanticising behind lace-curtains' . . . 'Angelica Deverell is too good a name to be true . . . she might be an old man. It would be an amusing variation. You are expecting to meet Mary Anne Evans and in Walks George Eliot twirling his moustache.' So nothing can prepare them for the pale young woman who sits before them, with not a seed of irony or a grain of humour in her soul.

    But long before these triumphs, he caused a sensation with his brilliant first novel, a powerful story of reckless youth that was hailed as a worthy rival to The Catcher in the Rye. THE TEMPLE OF GOLDRay Trevitt is coming of age in the American midwest of the late 1950s. Handsome, restless, eager to live life and to find his place in the world, Ray hurtles headlong through a young man’s rite of passage–searching for answers and somewhere to belong. What he discovers is that within friendships and love affairs, army tours and married life, victory and tragedy, lie the experiences that will shape his destiny, scar his soul, and ultimately teach him profound lessons he never expected.

    Mor, hoping to enter politics, becomes aware of new desires and a different dream of life. A complex battle develops, involving love, guilt, magic, art and political ambition. Mor's teenage children and their mother fight discreetly and ruthlessly against the invader. The Head, himself enchanted, advises Mor to seize the girl and run. The final decision rests with Rain. Can a 'great love' be purchased at too high a price?

    All ideas for making her work for a living were wrecked on the fact that she was born to be served and not to serve.Six friends have spent the dark, deprived years of World War II fantasising-in air raid shelters and food queues-about an idyllic life in a massive country house. With the coming of peace, they seize on a seductive newspaper ad and take possession of a neglected 33-room manor in Kent, with acres of lavish gardens and an elderly gardener yearning to revive the estate's glory days. But the realities of managing this behemoth soon dawn, including a knife-wielding maid, unruly pigs, and a paying guest who tells harrowing stories of her time in the French Resistance, not to mention the friends' conscientious efforts to offer staff a fair 40-hour work week and paid overtime. And then there's the ghost of an overworked scullery maid . . .Based on the actual experiences of Ruth Adam, her husband, and their friends, A House in the Country is a witty and touching novel about the perils of dreams come true. But it's also a constantly entertaining tale packed with fascinating details of post-war life-and about the realities of life in the kind of house most of us only experience via Downton Abbey.

    Includes Agostino (original Italian 1944), translated by Beryl de Zoete, and Luca (original Italian "La Disubbidienza" 1948), translated by Angus Davidson.Since the publcation of 'The Woman of Rome', most American critics agree that Alberto Moravia is a novelist of importance; one of the leaders of the literary renaissance that Italy has been enjoying since the war. Moravia again displays his gifts as a teller of stories sharp with characterization and deep understanding.'Agostino'is the story of a sensitive, cloistered boy who, beyond all sense of proportion, loves and idolizes his youthful widowed mother. The shock of finding he is not the center of his mother's universe - that she is favorable to the attentions of a man of her own generation - is more than Agostino can stand. In an instinctive fumbling effort to gain self-respect and values, Agostino joins a gang of older boys who derisively and callously supply him with a quick and drastic sexual education. Agostino finds he has won knowledge without wisdom; and in the words of Moravia, "He has lost his first estate without having succeeded in winning another." Agostino is the true adolescent, familiar to everyone who recalls that confused tragi-comic period of their youth.Luca is worlds apart in outlook from Agostino, more sophisticated, knowing and introspective - moody and on the threshold of maturity. Luca, perhaps, knows too much and thinks too much, and when his active mind questions the conventions and routine of everyday life he comes gradually to the conclusion that life is a monstrous conspiracy - a plot to make one conform at the expense of one's soul. His answer is a complete negation of the pattern of living - an austere and adolescent reaction that leads him, unwittingly, to the brink of death itself, and from which only the purge of violent illness and an unexpected romance save him, mentally and physically, and show him the way to maturity.[from the flaps]

    One sister, because of her singing ability, is able to enter into the white colonial society otherwise generally off limits to people of color. Closely examining a society sagging under the white supremacy of the French colonist rulers, Dance on the Volcano is one of only novels to closely depict the seeds and fruition of the Haitian Revolution, tracking an elaborate hierarchy of skin color and class through the experiences of two young women. It is a story about hatred and fear, love and loss, and the complex tensions between colonizer and colonized, masterfully translated by Kaiama L. Glover.