Over beers and a sea of freely spoken words, the conversation flows between two individuals, Santiago and Ambrosia, who talk of their tormented lives and of the overall degradation and frustration that has slowly taken over their town. Through a complicated web of secrets and historical references, Mario Vargas Llosa analyzes the mental and moral mechanisms that govern power and the people behind it. More than a historic analysis, Conversation in The Cathedral is a groundbreaking novel that tackles identity as well as the role of a citizen and how a lack of personal freedom can forever scar a people and a nation.

    This extraordinarily sensitive and insightful portrait of religious life centers on Philippa Talbot, a highly successful professional woman who leaves her life among the London elite to join a cloistered Benedictine community.

    At her death in 1964, O'Connor left behind a body of unpublished essays and lectures as well as a number of critical articles that had appeared in scattered publications during her too-short lifetime. The keen writings comprising Mystery and Manners, selected and edited by O'Connor's lifelong friends Sally and Robert Fitzgerald, are characterized by the directness and simplicity of the author's style, a fine-tuned wit, understated perspicacity, and profound faith.The book opens with "The King of the Birds," her famous account of raising peacocks at her home in Milledgeville, Georgia. Also included are: three essays on regional writing, including "The Fiction Writer and His Country" and "Some Aspects of the Grotesque in Southern Fiction"; two pieces on teaching literature, including "Total Effect and the 8th Grade"; and four articles concerning the writer and religion, including "The Catholic Novel in the Protestant South." Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are widely seen as gems.This bold and brilliant essay-collection is a must for all readers, writers, and students of contemporary American literature.

    The Apprenticeship was a bestseller and, as her biographer Benjamin Moser writes, "This accessible love story surprised many readers. When it came out, an interviewer said: 'I thought The Book of Pleasures was much easier to read than any of your other books. Do you think there’s any basis for that?' Clarice answered: 'There is. I humanized myself, the book reflects that.'”

    Ada, or Ardor is no less than the superb work of an imagination at white heat.This is the first American edition to include the extensive and ingeniously sardonic appendix by the author, written under the anagrammatic pseudonym Vivian Darkbloom.

    It embraces a wide range of social milieux, from the miseries of the tenements to the cultivated, bourgeois Bradshaws. It introduces a memorable cast of characters: the main protagonist, Fitz, a model of the hard-working, loyal and abused trade unionist; the isolated, well-meaning and ineffectual Fr O'Connor; the wretched and destitute Rashers Tierney. In the background hovers the enormous shadow of Jim Larkin, Plunkett's real-life hero.Strumpet City's popularity derives from its realism and its naturalistic presentation of traumatic historical events. There are clear heroes and villians. The book is informed by a sense of moral outrage at the treatment of the locked-out trade unionists, the indifference and evasion of the city's clergy and middle class and the squalor and degradation of the tenement slums.

    Centering on the infamous firebombing of Dresden, Billy Pilgrim's odyssey through time reflects the mythic journey of our own fractured lives as we search for meaning in what we fear most.

    These mythological poems include the Voluspo, one of the broadest literary conceptions of the world's creation and ultimate destruction; the Lokasenna, a comedy bursting with vivid characterizations; and more.

    On the way he bestows upon angels, fellow passengers, and the world at large a magnificent monologue on alcohol, politics, society, alcohol, philosophy, the pains of love, and, of course, alcohol.

    The editing, with excellent notes, excerpts from Brecht's own views about poetry and Mr. Willett's concise introduction is exemplary. Most important, the translations by 35 poets, among them H.R. Hayes, Peter Levi, Christopher Middleton, and Naomi Replansky, maintain a high standard of accuracy and often convey a very clear idea of the texture and feeling of the German." --Stephen Spender, "The New York Times Book Review"

    It tells the story of two young boxers out of Stockton, California: Ernie Munger and Billy Tully, one in his late teens, the other just turning thirty, whose seemingly parallel lives intersect for a time. Set in an ambiance of glittering dreams and drab realities, it tells of the two fighters' struggles to escape the confinements of their existence, and of the men and women in their world. Fat City is a novel about the sporting life like no other ever written: without melodrama or false heroics, written with a truthfulness that is at once painful and beautiful.Denis Johnson: "Between the ages of 19 and 25 I studied Leonard Gardner’s book so closely that I began to fear I’d never be able to write anything but imitations of it, so I swore it off(...)When I was about 34 (the same age Gardner was when he published his), my first novel came out. About a year later I borrowed Fat City from the library and read it. I could see immediately that ten years’ exile hadn’t saved me from the influence of its perfection — I’d taught myself to write in Gardner’s style, though not as well. And now, many years later, it’s still true: Leonard Gardner has something to say in every word I write."Joan Didion: "Leonard Gardner's Fat City affected me more than any new fiction I have read in a long while, and I do not think it affected me only because I come from Fat City, or somewhere near it. He has got it exactly right--the hanging around gas stations, the field dust, the relentless oppressiveness of the weather, the bleak liaisons sealed on the levees and Greyhound buses--but he has done more than just get it down, he has made it a metaphor for the joyless in heart."David Wagoner: "The people he writes about are alive and three-dimensional, and have that meaty, sweaty immediacy I admire in novels and find so seldom. It's an odd, interesting world he explores here--as tense and vivid as the prose."Ivan Gold: "Gardner writes with power, with an insider's knowledge, and with a vividness and love for his characters which redeem them even when they're lost and beaten."Harry Mark Petrakis: "A man of real talent. He makes the savage world he writes of come alive to the point where the reader can smell the sweat, and feel the anguish of unremitting failure."Ross Macdonald: "In his pity and art Gardner moves beyond race, beyond guilt and punishment, as Twain and Melville did, into a tragic forgiveness. I have seldom read a novel as beautiful and individual as this one."Originally published in 1969, Fat City is an American classic whose stature has increased over the years. Made into an acclaimed film by John Huston, the book is set in and around Stockton, California.

    The revision covers all the poems published in Princeton's earlier bilingual edition, "George Seferis: Collected Poems" (expanded edition, 1981). Winner of the Nobel Prize for Literature in 1963, George Seferis (1900-71) has long been recognized as a major international figure, and Keeley and Sherrard are his ideal translators. They create, in the words of Archibald MacLeish, a "translation worthy of Seferis, which is to praise it as highly as it could be praised."Although Seferis was preoccupied with his tradition as few other poets of the same generation were with theirs, and although he was actively engaged in the immediate political aspirations of his nation, his value for readers lies in what he made of this preoccupation and this engagement in fashioning a broad poetic vision. He is also known for his stylistic purity, which allows no embellishment beyond that necessary for precise yet rich poetic statement.

    1969 HARDCOVER

    In it author Unica Zurn traces the roots of her obsessions: The exotic father she idealized, the "impure" mother she detested, the masochistic fantasies and onanistic rituals which she said described "the erotic life of a little girl based on my own childhood." Dark Spring is the story of a young girl's simultaneous introduction to sexuality and mental illness, revealing a different aspect of the "mad love" so romanticized by the (predominantly male) Surrealists. Unica Zurn (1916-1970) emigrated in 1953 from her native Berlin to Paris in order to live with the artist Hans Bellmer. There she exhibited drawings as a member of the Surrealist group and collaborated with Bellmer on a series of notorious photographs of her nude torso bound with string. In 1957, a fateful encounter with the poet and painter Henri Michaux led to the first of what would become a series of mental crises, some of which she documented in her writings. She committed suicide in 1970--an act foretold in this, her last completed work.

    . . . I would say that never as much as today have I pictured him so far ahead of us.” Jacques Derrida

    Shortly before the outbreak of World War II, he is sent to an obscure village with one week's ration of canned meat and orders to guard a downed plane. Apparently forgotten by his unit, Chonkin resumes his life as a peasant and passes the war tending the village postmistress's garden. Just after the German invasion, the secret police discover this mysterious soldier lurking behind the front line. Their pursuit of Chonkin and his determined resistance lead to wild skirmishes and slapstick encounters.

    Burroughs at work, attacking our traditional values, condemning what he calls "the American nightmare," and expressing his often barbed views on Scientology, the police, orgone therapy, history, women, writing, politics, sex, drugs, and death. His conversation splices images of death-by-hanging with elevators and airports, the story of his drug addiction and cure with ideas on the use of hieroglyphs.

    The lyrical age, according to Kundera, is youth, and this novel, above all, is an epic of adolescence; an ironic epic that tenderly erodes sacrosanct values: childhood, motherhood, revolution, and even poetry. Jaromil is in fact a poet. His mother made him a poet and accompanies him (figuratively) to his love bed, and (literally) to his deathbed. A ridiculous and touching character, horrifying and totally innocent ("innocence with its bloody smile"!), Jaromil is at the same time a true poet. He's no creep, he's Rimbaud. Rimbaud entrapped by the communist revolution, entrapped in a sombre farce.

    A bum off the road brings in a gypsy and his wife and we talk . . . . drink half the night. A long distance operator from Newburgh, N.Y. sends me money. She wants me to give up drinking beer and to eat well. I hear from a madman who calls himself 'King Arthur' and lives on Vine Street in Hollywood and wants to help me write my column. A doctor comes to my door: 'I read your column and think I can help you. I used to be a psychiatrist.' I send him away . . ."

    Living in a well-ordered world that's beginning to lose its equilibrium, Taylor's fascinating characters struggle to come to terms with the constricting circumstances into which they were born. Delicately interweaving the joys and pains of these families, Peter Taylor goes beyond regionalism to the simple truths recognizable to people everywhere.

    The gift of the Magi --A cosmopolite in a café --The skylight room --Man about town --The cop and the anthem --The love-philtre of Ikey Schoenstein --Mammon and the archer --Springtime à la carte --From the cabby's seat --An unfinished story --The romance of a busy broker --After twenty years --The furnished room --Hearts and crosses --The ransom of Mack --Telemachus, friend --The handbook of Hymen --Hygeia at the Solito --The hand that riles the world --The exact science of matrimony --Conscience in art --Roads of destiny --The enchanted profile --The passing of Black Eagle --A retrieved reformation --Friends in San Rosario --The renaissance at Charleroi --Whistling Dick's Christmas stocking --The lotus and the bottle --Shoes --Ships --Masters of arts --"The Rose of Dixie" --A poor rule --The last of the troubadours --Makes the whole world kin --Jimmy Hayes and Muriel --The adventures of Shamrock Jolnes --The friendly call --Sound and fury --The theory and the hound --The ransom of Red Chief --The whirligig of life --A blackjack bargainer --One dollar's worth --A lickpenny lover --Doughterty's eye-opener --The defeat of the city --The shocks of doom --Squaring the circle --The memento --The trimmed lamp --Two Thanksgiving day gentlemen --The making of a New Yorker --A Harlem tragedy --The last leaf --The count and the wedding guest --The robe of peace --A ramble in Aphasia --A night in New Arabia --Proof of the pudding --Hearts and hands

    Infused with the rhythmic drive of a jazz improvisation, the immediacy of a newspaper headline and the epic scope of a historical novel, Fo and his wife/collaborator Franca Rame have performed Mistero Buffo throughout the world to over 10,000,000 people. One of the major theatrical artists of the 20th century, Italy's Dario Fo was awarded the 1997 Nobel Prize for Literature. Ron Jenkins' translations of Dario Fo have been performed across the country. He is the theatre department chair at Wesleyan University.

    Charley's favorite part is when Lizzie is alone at night, homeless, and walking along looking longingly into the lighted windows of the cozy homes she's passing. A middle child trapped between a clever older brother and a sickly little brother, Charley dreams of being alone and outcast, set apart.When she's sent to stay with a favorite aunt, Charley's thrilled - until she reads a note not meant for her eyes, and realizes that aunt Louie hadn't wanted her to come. Betrayed, Charley gets off the train early and sneaks into town instead of going to Louie's house. Finding an old chicken house, Charley seizes on her chance to become Lizzie Scrotten. She decides to call herself Rowan, after the beautiful tree. And for a season, the protected middle-class child becomes a free-spirited child of poverty - albeit a somewhat romantic, Boxcar Childrenesque poverty.It was dawn when she woke properly. The sky was lightening and the air was full of the twitter of birds. She sprang up and scrambled through the hedge, which was hung with great glistening spiders' webs.Sleeping in her chicken house and drinking from a garden hose in a nearby yard, Charley keeps a watchful eye on her aunt's house and plays different roles with different people she encounters - a gypsy with a local child, a mute with a shopkeeper, a cripple with a minister - for a variety of reasons both practical and playful. Her most meaningful encounter, though, is with a young man who is also running away, and the conversation they have about it. When a crisis comes, though, Charley discovers that she can't be Lizzie any longer. A cheerful, interesting read that draws its power from the mundane-turned-fascinating details of Charley's hobo life, and her quick, deep store of tales to spin for the strangers in her aunt's village.

    Never having been awarded the Nobel Prize, which his readers worldwide believed he deserved, this story writer, poet, essayist, and man of letters died at age eighty-six.This anthology of interviews with him features more than a dozen conversations that cover all phases of his life and work.Conducted between 1964 and 1984, the interviews reveal Borges to be a remarkably candid, humorous man, by turns skeptical and enthusiastic, and always a singularly incisive and adventurous thinker.He discusses his blindness, his family and childhood, early travels, literary friends, and struggles to find his literary identity. In depth he examines the meanings and intentions of his own famous stories and poems, and he speaks of the writers whose works he has loved-Dante, Cervantes, Emerson, Dickinson, H. G. Wells, Kafka, Stevenson, Kipling, Whitman, Frost, and Faulkner-and of those whom he disliked, such as Hemingway and Lorca. Borges expresses his contempt for P ron and assesses the tumultuous politics of Argentina. He speaks also of the imagination as a type of dreaming, about issues of collaboration and translation, about philosophy, and about time.Many of the interviews were conducted by notable figures, including Alastair Reid, Willis Barnstone, and Ronald Christ.As Borges speaks in these conversations, readers who have fallen under the spell of his magical prose and poetry will find additional sustenance.Richard Burgin's books include the story collections "Feat of Blue Skies," "Private Fame," and "Man without Memory." In his first book on Borges, "Conversations with Jorge Luis Borges" (now out of print), he was the sole interviewer. Burgin is the editor of "Boulevard" magazine and an associate professor of communication and English at Saint Louis University.

    His stories often read like thoughtful essays, his essays like poems, and his poems like brief narrations. Borges in conversation similarly transcends and transmutes our expectations of the ordinary colloquy. In the wide-ranging dialogues presented in this volume, the author's thoughts are evoked through the perceptive questioning of Willis Barnstone, John Coleman, Alastair Reid, Dick Cavett, and others. The resulting interplay between Borges and his interview2ers makes fascinating reading, revealing him as perhaps the premier conversationalist of our time. Borges chats intimately with his audience. "A crowd is an illusion... I am talking to you personally," he tells one group. Candor, wit, and humorous self-disparagement mark his responses, as do the Socratic qualities of profound yet amusing meditation and retort. "When I wake up," he informs us, "I wake to something worse. It's the astonishment of being myself." With the haunting resonance and structure of a fugue, the pervasive themes of Borges' works (or "exercises" as he chooses to call them) are woven throughout these evocative conversations. The nightmares, labyrinths, mazes, and mystic experiences that are part of Borges' creative mythology similarly loom large in his conversations. Revealed here are the interests that have continued to engage the writer-Old English and Old Norse sagas, his favorite authors (notably Whitman, Poe, and Emerson), the Kabbalah-as well as his feeling of what it is like to be blind, and now, in his eighties, his thoughts on death. A dozen of Borges' poems are reproduced, both in Spanish and in English translation, followed by remarks on how he came to write them and what they mean. Willis Barnstone's remarkable photographs complete the sensitive word portrait that emerges in Borges at Eighty: Conversations.

    The best-selling author of "How to Read a Poem and Fall in Love with Poetry selects and introduces the work of a still-underappreciated 20th century genius.

    Here the reader is offered a glimpse of Mark Twain's sustained creative process, in what many critics consider the finest fiction of his later years. Begun in 1897 and revised first in 1902 and then 1908, the third version was the only manuscript titled The Mysterious Stranger. These texts offer a rare opportunity to observe Mark Twain's sustained literary struggle with a central theme.

    A handful of survivors must fight for their lives—struggling to make it from the upper deck of the ship to the hull, the only part above water, before the ship sinks. Faced with rising water and the violence of desperate passengers and crewmembers, the group must do everything it can to survive—before time runs out. Adapted into an award-winning film by Irwin Allen, The Poseidon Adventure is a thrilling tale with timeless suspense and excitement. ABOUT THE AUTHOR Paul Gallico (1897-1976) was an American novelist and sportswriter. Born in New York City, he graduated from Columbia University and became the sports editor and columnist for the New York Daily News, where he became known for asking champion boxer Jack Dempsey to spar with him during an interview. He founded the Golden Gloves amateur boxing competition, and wrote the book that inspired the movie The Pride of the Yankees, starring Gary Cooper.Gallico is known for his short stories and novels, several of which were adapted to TV and film. His short story The Snow Goose received the O. Henry Award for short fiction; his novel Love of Seven Dolls was adapted into Lili, an Oscar-winning film.

    Here, they are collected along with 19 other stories in a beautifully redesigned collection that represents the best short work of an American master.As Warner Berthoff writes in his introduction to this volume, "It is hard to think of a major novelist or storyteller who is not also a first-rate entertainer . . . a master, according to choice, of high comedy, of one or another robust species of expressive humour, or of some special variety of the preposterous, the grotesque, the absurd. And Melville, certainly, is no exception. A kind of vigorous supervisory humour is his natural idiom as a writer, and one particular attraction of his shorter work is the fresh further display it offers of this prime element in his literary character."The town-ho's story --Bartleby, the scrivener : a story of Wall-Street --Cock-a-doodle-doo! or, The crowing of the noble cock Beneventano --The encantadas or Enchanted Isles --The two temples --Poor man's pudding and rich man's crumbs --The happy failure : a story of the river Hudson --The lightning-rod man --The fiddler --The paradise of bachelors and the tartarus of maids --The bell-tower --Benito Cereno --Jimmy Rose --I and my chimney --The 'Gees --The apple-tree table, or Original spiritual manifestations --The piazza --The Marquis de Grandvin --Three "Jack Gentian sketches" --John Marr --Daniel Orme --Billy Budd, sailor.

    The daily routine of a man in charge of children at a state welfare organization and the demands that are made upon him are depicted in this novel set in present day Hungary.

    Set far from Moscow in the remote Kazakhstan capital of Alma-Ata, The Keeper of Antiquities begins with a leisurely, almost scholarly air - like a devious story by Borges. But very soon we find ourselves watching with horror as professional rivalry between the keeper of the town's museum and the chief librarian turns into a deadly struggle for control over the meaning of the past - and therefore over the present.While Dombrovsky does not have the wit, the suave cynicism of Bulgakov, he is-or was-immensely drawn to the tragi-comic potential of the bureaucratic flap, endemically Russian. Water boils drearily for tea in noisily peopled conferences; lank-jawed, heavily smoking females whine and bark in outrage; minor officials threaten and soothe; mass grievances are unburdened. The narrator is an open-hearted, straightforward young man with the title of Keeper of Antiquities in the archaeological section of a museum in rural Soviet Central Asia. The Keeper is moderately happy in his eyrie of catalogues and modest displays, sharing varieties of pickling alcohol with an earthy old carpenter and enjoying a secret hoard of carnival views of ""Beauties of the World"" in their natural state. His aim is to go quietly on his way ""without interfering with anybody."" But ""Your business is history"" to prove and demonstrate, and there is no escape. An attempt to improve the local library by a critical comment; the friendship with a collective brigade leader whose brother was shot (unjustly?) as a traitor; the defense of a young archaeologist fired by the library-all forbode disaster. The keeper of pristine truths unsullied by expedient exploitation thinks of flight, but in the end simply waits for the closing in of ""history,"" party style. A spirited, often anguished, indictment of mindless officialdom wherever it appears.

    These timeless legends of superhuman warriors and doomed lovers have inspired storytellers such as Richard Wagner and J. R. R. Tolkien and continue to enchant modern readers.

    These 31 stories of the supernatural explore the furthest reaches of the macabre and at the same time parallel de Maupassant's own descent into madness and death. Includes a Foreword by modern master horror writer Ramsey Campbell.The Horla --The Devil --Two friends --Fear --The hand --Coco --The mannerism --The madwoman --Mohammed-Fripouille --The blind man --At sea --Apparition --Saint-Antoine --The wolf --Terror --The diary of a madman --A vendetta --The smile of Schopenhauer --On the river --He? --Old Milon --The head of hair --The inn --Mother Savage --Was he mad? --The dead girl --Mademoiselle Cocotte --A night in Paris --The case of Louise Roque --The drowned man --Who knows?

    Imagine ordering a sunny day from the local weather witch, asking an appletree to answer the telephone and making a beautiful garden out of old cereal boxes. What would you do if you inherited a real hair loom, or found three ugly old ladies and a dragon on your doorstep and would you need a bicycle if you had a unicorn to ride?

    Jane can choose the doll she wants.Will she choose Bella Ballerina, the doll who can dance on her toes? Hairiette, who can change the way she wears her hair? Tillie Talkie? Irene-and-Her-Sewing-Machine?What about that forgotten doll, sitting high on a shelf with the left-over Christmas tree balls? She can't do anything. She doesn't even have a name. Jane wouldn't want that doll -- would she?

    S. Lewis' most important literary essays, written between 1932 and 1962. The topics discussed range from Chaucer to Kipling, from 'The literary impact of the authorised version' to 'Psycho-analysis and literary criticism', from Shakespeare and Bunyan to Sir Walter Scott and William Morris. Common to each essay, however, are the lively wit, the distinctive forthrightness, and the discreet erudition which characterise Lewis' best critical writing.

    Already his widely celebrated gifts of precision, thoughtfulness, and musicality were everywhere apparent.

    

    One of the great figures of Romanticism, Keats poured his tragically short and troubled life into creating poetry: in Robert Gittings's words, "With no other poet are the life and the works so closely linked". He offers insights into Keats's family background, his financial difficulties, illnesses and unhappy love affair with Fanny Brawne, interpreting evrey poem in the context of Keats's experience. Meticulously researched using original sources, this is the most complete picture of Keats that has ever appeared.Contents: ForewordPrologue to BiographyApprentice YearsYears of TrialThe Living YearThe Last YearEpilogue to LifeAppendices: The Jennings & Sweetinburgh Families Keats' Father Keats & Venereal Disease Keats' Use of BawdyIndex

    There he struggles to retain his childlike innocence and native pride while striving to support himself in the corrupt and decadent international port. He takes up with a longshoreman and soon meets a rogue's gallery of friends, mostly hustlers and down-and-outers. With his characteristic brilliance and streetwise charm, Mrabet develops the novel's ambiguous theme of the necessity of violence to retain one's innocence.

    The book was to constitute the first section of a two-part work whose aim was to offer, as an extension of his Phenomenology of Perception, a theory of truth. This edition's editor, Claude Lefort, has interpreted and transcribed the surviving typescript, reproducing Merleau-Ponty's own notes and adding documentation and commentary.

    Four men led by the Architect of Ruins construct an Armagedon shelter, in the shape of a giant cigar, so that when the end of the world comes they can enter eternity in the right mood, whilst playing a Schubert string quartet.

    Hanson, an African-American professor of the History of Slavery, who is in North Africa on a mysterious foundation grant, sets off across the Sahara on a series of wild adventures. He first meets Hamid, a mad Moroccan who turns him on, takes him over and teaches him to pass as a Moor. Mya, the richest woman in creation, and her seventh husband, the hereditary Bishop of the Farout Islands, also cross his path with their plans to steal the Sahara and make the stoned professor the puppet Emperor of Africa.

    Burke contributes an introductory and summarizing remark, "What is involved, when we say what people are doing and why they are doing it? An answer to that question is the subject of this book. The book is concerned with the basic forms of through which, in accordance with the nature of the world as all men necessarily experience it, are exemplified in the attributing of motives. These forms of though can be embodied profoundly or trivially, truthfully or falsely. They are equally present in systematically elaborated or metaphysical structures, in legal judgments, in poetry and fiction, in political and scientific works, in news and in bits of gossip offered at random."

    He spent his early childhood in Astrakhan where his father worked as a shipping agent, but when the boy was only five years old, his father died, and he was sent to live with his maternal grandparents. This was not a happy time for the young Gorky as conditions were poor and often violent. At the age of eight, the boy's grandfather forced him to quit school and apprenticed him to several tradesmen including a shoemaker and an icon painter. Fortunately, Gorky also worked as a dishwasher on a Volga steamer where a friendly cook taught him to read, and literature soon became his passion. At the age of twelve, Gorky ran away from home and barely survived, half starving, moving from one small job to the next. He was often beaten by his employers and seldom had enough to eat. The bitterness of these early experiences led him to choose the name Maxim Gorky (which means "the bitter one") as his pseudonym.

    

    The stories have a point: they remind us that courage and clear-thinking in the midst of great danger go hand in hand and are the keys to survival. Not only is cowardice disgraceful, it is frequently lethal. Includes: Triumph of the Boon; The Boy Stood on the Burning Deck; Dr Blanke's First Command; Counterpunch; USS Cornucopia; December 6th; Rendezvous.

    Written with Coward's inimitable poise and wit, the stories variously describe back-stage intrigues, Hollywood champagne breakfasts, suburban romances and gossip round the captain's table. He reveals himself as a consummate prose stylist demonstrating why, for all his success in virtually every other field of entertainment, he returned again and again to the short story.

    D. B. Bryan- The necklace by Guy de Maupassant- The adventure of the speckled band by Arthur Conan Doyle- To build a fire by Jack London- Leiningen versus the ants by Carl Stephenson- Eveline by James Joyce- The secret life of Walter Mitty by James Thurber- What stumped the bluejays by Mark Twain- The pearl by John Steinbeck

    This is the record of one of the most interesting personal relationships of modern literature. Between 1913, when Yeats first called Joyces's work to Pound's attention, an 1920 there was a steady flow of letters, in which we see Pound finding publishers for Joyce, collecting money for him, defending him against censorship, even sending spare clothes. More than sixty letters from Pound to Joyce have survived, while those from Joyce to pound will be found in the Viking Press Joyce correspondence volumes.

    The first of the plays, The Real Inspector Hound, is the longer of the two; here the author has created a looking glass comedy of great suspense and intrigue about two drama critics. The second play, After Magritte, is 'a surrealist comedy in detective form-or is it a comedy in surrealist form? A husband and wife argue whether the figure they saw in the street was a one-legged football player with the ball under his arm, or a man in pajamas with a tortoise under his arm. The play shows that Stoppard is as amusing and clever as always.'

    highly recommended.... This anthology of faithful translations of the classics is by far the best of its kind to come out for a long time." --Canadian Slavic Review

    This title contains translations of his best pieces.

    Among the women’s most powerful weapons in their assault is laughter, but they also threaten literary and linguistic customs of the patriarchal order with bullets. In this breathtakingly rapid novel first published in 1969, Wittig animates a lesbian society that invites all women to join their fight, their circle, and their community. A path-breaking novel about creating and sustaining freedom, the book derives much of its energy from its vaunting of the female body as a resource for literary invention."A delectable epic of sex warfare . . . an extraordinary leap of the imagination into the politics of oppression and revolt." --Mary McCarthy

    There’s another world where life is different."These are stories of that world. The word m’hashish (equivalent in Moghrebi of “behashished” or “full of hashish”) is used only in a literal sense, but also figuratively, to describe a person whose behavior seems irrational or unexpected. The tales here deal with some of the possible results, desirable and questionable, of being in that state.Mohammed Mrabet was born in Tangier in 1936. Since meeting in the early 1960's, Paul Bowles has taped and translated numerous strange legends and lively stories recounted by Mrabet: Love with a Few Hairs (novel), The Lemon (novel), The Boy Who Set Fire (stories), Harmless Poisons, Blameless Sins (stories), The Beach Café & Look & Move On (autobiography), and The Big Mirror (novella). After moving back to Tangier after living in New York for four years, Mrabet resumed his role as a fisherman and began painting. He continues to paint while living in the Souani area of Tangier.

    In the telling of her life, Stacey rediscovers for us all the richness of the commonplace, the pain and beauty in being alive, and the secret music that dances in everyone’s soul.

    Time and the Conways.-I have been here before.-An inspector calls.-The linden tree.

    Serving with the Machine Gun Corps, he fought in the battles of Loos, Somme and Arras, and at Cambrai, where he was badly wounded and won the Military Medal for Bravery. This book is based on diaries that the author kept, against military regulation, during his service in France. It is one of the few accounts of the war to be written by a private soldier rather than an officer, and as such it paints a vivid and horrifying picture of life in the trenches as seen by someone at the very bottom of the military hierarchy.

    Hind dropped his search when he married. Now, some years later, at the instant the novel opens, he is leaving his apartment to visit his estranged wife Sylvia and his five-year-old daughter May; he wants to live with them. But at his door is a strange old woman, and in his mailbox a note beckoning him toward the old trail. Hind’s renewed quest leads him among people in their spring and early-summer landscape – a city pier; the well-fenced office complex of a famous firm; a New England golf course and the owner’s house overlooking it; a city health club; and a city university. Yet at the end of this pentad the kidnaping of the child, Hershey Laurel, has receded to a dim corner of the book. And Hind’s late, beloved guardian, and the threatening past he summons up, grow more and more powerful, uncontrollably, as does Hind’s awareness that his search has taken possession of him.Hind realizes, too, that despite his craving to be needed, he has used people as means, abbreviated them as clues, and disposed them in his heart as exhibits. He becomes unsure whether he wants to go back to Sylvia because the fifth clue points to her or because she is a woman he loves. He revisits his friends, his clues, in the hope of "taking" them not as clues but as ends in themselves. Indeed, he endeavors to de-kidnap them.But what has been started – and only partly by Hind – can’t be stopped. The lock pursues the keys, the kidnaping pursues the memory that is trying to erase it, and a mass of old life emerges – passionate adolescence, the cruel charm of the clever, sickly girl Hind adored, the intricate commitments to childhood friends, and, in back of it all, the guardian himself, a failure, a remotely tragic hero, an interesting man. The maze of the book’s opening part has come into focus out of its dense nightmare anonymity – New York, Brooklyn Heights, terrible genealogy, the self in relation to others.

    

    Enemies of the Permanent Things, first published in 1969, is the most significant extended meditation on culture and politics to come out of the rough and tumble of those years. It is an invaluable document, articulating the response of a critical witness to the radically anti-authoritarian turn taken by the intellectual elite in that destructive decade.

    [Penguin Readers Level 6]Autobiography.

    The sequel to 'The Confessions of Zeno', which was only partially completed before Svevo's untimely death in 1928.

    Dorothy L. Sayers will be eagerly sought by the many thousands of readers who already know her vigorous and vivid translation of the Inferno. As those who have heard Miss Sayer's lectures on Dante can testify, she brings to the interpretation of the Divine Comedy a vitalizing power of analysis and re-creation. Readers of Dante often become discouraged by the mass of factual detail which the older school of historical criticism has made available; mere aestheticism, however, unrelated to the time and space, is nor likely to satisfy them either. They will find in Miss Sayers' essays enough scholarly assistance to put themselves in the position of a contemporary reader; but their attention will chiefly be drawn to the relevance of the Divine Comedy to our present day world and way of life. Miss Sayers' emphasis on the ethical, rather than on the aesthetic, or historical, significance of Dante's work, comes as a welcome and bracing challenge to the confusion regarding values, whether of literature or of life, which characterizes the present age.

    Day after day he camps at Devil's Head and takes his surfboard over the outer reef, hoping the sharp rocks will claim him and save him from his nightmares. From the shop on the beach, Brenda -- scarred by her brief marriage to an air-force pilot -- watches his crazy dance of death. A starving and homeless Aboriginal boy trying to find enough food to survive after his parents' death becomes an intermediary between the two misfits consumed by their own demons. One day the two are forced out of their introspection when tragedy intervenes.

    

    Obsessed with an irresistible fascination for the enigmatic Sarah, Charles is hurtled by a moment of consummated lust to the brink of the existential void. Duty dictates that his engagement to Tina must be broken as he goes forth once again to seek the woman who has captured his Victorian soul & gentleman's heart.

    1969 Working And Thinking on The Waterfront; a journal, June 1958-May 1959

    His characters are colourful and real, painting vivid pictures of areas such as Brixton and Notting Hill at this time. The stories of friendship, love and growing up are set against a background of jazz and good times, as London's staid reputation progresses to that of a thriving multiracial capital. A man ahead of his time, MacInnes displayed the realities of 1950s London: an emerging teen culture, black immigration and the glamorisation of crime and criminals with remarkable insight and sympathy.

    

    . . Their subject is the frailty of modern civilization."

    Each of the stories in Scars explores a fragment in time when the lives of these characters are altered, more or less, by a singular event.

    Sartre.--Bitter honeymoon, by A. Moravia.--The metamorphosis, by F. Kafka.--The bound man, by I. Aichinger.--Suicides, by C. Pavese.--The guest, by A. Camus.--A day goes by, by L. Pirandello.--The sin of Jesus, by I. Babel.--Saviour John, by P. Lagerkvist.--My melancholy face, by H. Böll.--Brains, by G. Benn.--Funes the memorious, by J.L. Borges.

    "A desperate plea for all the helpless children who bang in silence on the walls of their mental prisons. . . ".--Library Journal.

    The form of the novel, reflecting the schizophrenia of the characters, is split into two sections--a narrative, and a diary annotated with those thoughts that provoked the entries.

    These are the dates of the beginning of official interest in Western learning and of the expulsion of Siebold from the country, the first stage of a crisis that could be resolved only by the opening of the country of the West. The century and more included by the two dates was a most important period in Japanese history, when intellectuals, rebelling at the isolation of their country, desperately sought knowledge from abroad. The amazing energy and enthusiasm of men like Honda Toshiaki made possible the spectacular changes in Japan, which are all too often credited to the arrival of Commodore Perry.The author chose Honda Toshiaki (1744-1821) as his central figure. A page from any one of Honda's writings suffices to show that with him one has entered a new age, that of modern Japan. One finds in his books a new spirit, restless, curious and receptive. There is in him the wonder at new discoveries, the delight in widening horizons. Honda took a kind of pleasure even in revealing that Japan, after all, was only a small island in a large world. To the Japanese who had thought of Chinese civilization as being immemorial antiquity, he declared that Egypt's was thousands of years older and far superior. The world, he discovered, was full of wonderful things, and he insisted that Japan take advantage of them. Honda looked at Japan as he thought a Westerner might, and saw things that had to be changed, terrible drains on the country's moral and physical strength. Within him sprang the conviction that Japan must become one of the great nations of the world.

    Library of Congress Card Catalog Number: 73-88790

    Williams tirelessly defended and promoted the best in modern literature and art. He contributed widely to leading literary magazines, wrote prefaces and introductions, and lectured at many universities. This selection represents his finest work in criticism. Much of it concerns poetry and poets––T. S. Eliot, Dylan Thomas, Karl Shapiro, E. E. Cummings, Ezra Pound, Carl Sandburg, Robert Lowell and many others. Williams also spoke out on painters and paintings as well as music and literature. There are essays on James Joyce, Shakespeare, Federico Garcia Lorca, the basis of faith in art, the American Revolution, H. L. Mencken's The American Language, Ford Madox Ford, American primitive painters, Antheil's music, and the work of Gertrude Stein.

    

    She thrives on seduction, manipulation, and the humiliation of everybody in her orbit. And she has a genius for generating chaos and panic among her real and imaginary enemies. Until her conviction on slavery charges brought against her by several ungrateful Mexican housemaids, Evangeline, a dead ringer for Elizabeth Taylor, lives in perpetual motion. She and her husband, Warren, a self-made real estate mogul at the end of a long alcoholic decline, breezily shift from Las Vegas to Hawaii to Nassau, torching their homes for insurance money, dabbling in myriad forms of financial fraud, and constantly altering their identities to evade the law. When Warren dies, Evangeline is desperate to jump-start yet another new life, bankrolled by Warren's far-flung and hard-to-locate assets, while keeping his death secret from the world at large, but particularly from his "former children," her stepchildren and the beneficiaries of his will. Fortunately, she has an eager accomplice in Devin, her fanatically devoted and easily manipulated son. Surrounded by a cohort of burnouts, hapless suckers, and fellow grifters, Evangeline cooks up the ultimate con. To complete the intricate scheme, she will stop at nothing, including murder. "Depraved Indifference" is a dissection of the mind of a charismatic sociopath and a satire of the society that appeases and abets her. With razor-fine insight, Gary Indiana, "one of the most important chroniclers of the modern psyche," ("The Guardian") wields his scathing, insightful prose with authority and to devastating effect.