The novel, written in a stream-of-consciousness style reminiscent of the English-language Modernists, centers around the childhood and early adulthood of a character named Joana, who bears strong resemblance to her author: "Madame Bovary, c'est moi", Lispector said, quoting Flaubert, when asked about the similarities. The book, particularly its revolutionary language, brought its young, unknown creator to great prominence in Brazilian letters and earned her the prestigious Graça Aranha Prize.Joana, a young woman very much in the mode of existential contemporaries like Camus and Sartre, ponders the meaning of life, the freedom to be one's self, and the purpose of existence. Near to the Wild Heart does not have a conventional narrative plot. It instead recounts flashes from the life of Joana, between her present, as a young woman, and her early childhood. These focus, like most of Lispector's works, on interior, emotional states of mind.

    P. Lovecraft's greatest contribution to supernatural literature: a series of stories that evoked cosmic awe and terror through their accounts of incomprehensibly alien monsters and their horrifying incursions into our world. The Complete Cthulhu Mythos Tales collects 23 of Lovecraft's greatest weird tales, including "The Call of Cthulhu," "The Colour out of Space," "The Dunwich Horror," "The Shadow over Innsmouth," and "The Shadow out of Time." It also features six collaborative "revisions" through which Lovecraft expanded the scope of his dark mythology.In these stories, monstrous entities traverse the gulfs of time and space and humankind cowers in fright at the havoc they wreak. The Complete Cthulhu Mythos Tales is your passport to realms of unimaginable horror.Contents:1. Dagon2. Nyarlathotep3. The Nameless City4. Azathoth5. The Hound6. The Festival7. The Call of Cthulhu8. The Colour out of Space9. History of the Necronomicon10. The Curse of Yig11. The Dunwich Horror12. The Whisperer in Darkness13. The Mound14. At the Mountains of Madness15. The Shadow over Innsmouth16. The Dreams in the Witch House17. The Man of Stone18. The Horror in the Museum19. The Thing on the Doorstep20. Out of the Aeons21. The Tree on the Hill22. The Shadow out of Time23. The Haunter of the Dark

    It has been 60 years since the great Red Death wiped out mankind, and the handful of survivors from all walks of life have established their own civilization and their own hierarchy in a savage world. Art, science, and all learning has been lost, and the young descendants of the healthy know nothing of the world that was—nothing but myths and make-believe. The old man is the only one who can convey the wonders of that bygone age, and the horrors of the plague that brought about its end. What future lies in store for the remnants of mankind can only be surmised—their ignorance, barbarity, and ruthlessness the only hopes they have?'

    After a nine-year affair with Jake, a married man, Kate Ennis decides to escape. She takes off, looking for something beautiful and quiet by the sea, but finds herself in a pitch dark and driving rain on a lonely Irish road. It is only months later that she learns that she may have committed a crime, but by then she is home, once more negotiating with Jake for time, for attention, and for love."

    Lillian is charming, beautiful . . . and slowly dying of consumption. But she doesn’t wish to end her days in a hospital in the Alps. She wants to see Paris again, then Venice—to live frivolously for as long as possible. She might die on the road, she might not, but before she goes, she wants a chance at life. Clerfayt, a race-car driver, tempts fate every time he’s behind the wheel. A man with no illusions about chance, he is powerfully drawn to a woman who can look death in the eye and laugh. Together, he and Lillian make an unusual pair, living only for the moment, without regard for the future. It’s a perfect arrangement—until one of them begins to fall in love.

    Witch Grass (previously titled The Bark Tree) is a philosophical farce, an epic comedy, a mesmerizing novel about the daily grind that is an enchantment itself.

    Telling of the siege of Leningrad, of glittering dinner parties with Nazi leaders, and of trains disgorging bodies in war-devastated Romania, Malaparte paints a picture of humanity at its most depraved.Kaputt is an insider’s dispatch from the world of the enemy that is as hypnotically fascinating as it is disturbing.

    A powerful and passionate tale is set on a southern army post --a human hell inhabited by a sexually disturbed officer, his animalistic wife, her lover, and the driven young private who forces the drama to its climax...

    She draws her strength from that solid foundation, bringing delight and beauty to her elderly husband, to the small town of Sweet Water where they live, to the prairie land itself, and to the young narrator of her story, Neil Herbert. All are bewitched by her brilliance and grace, and all are ultimately betrayed. For Marian longs for "life on any terms," and in fulfilling herself, she loses all she loved and all who loved her. This, Willa Cather's most perfect novel, is not only a portrait of a troubling beauty, but also a haunting evocation of a noble age slipping irrevocably into the past.

    Displaced from her community and her home, Ettie tries to find her place in this new life, but can't seem to get it right. She irritates the maid, hangs food outside the window because she mistrusts the fridge and, in her naivety and loneliness, invites a prostitute in for tea. Iza’s Ballad is the story of a woman who loses her life’s companion and a mother trying to get close to a daughter whom she has never truly known. It is about the meeting of the old-fashioned and the modern worlds and the beliefs we construct over a lifetime.

    It is at this time that he began his engagement with the work of Dostoevsky. Problems of Dostoyevsky’s Art is considered to be Bakhtin’s seminal work, and it is here that Bakhtin introduces three important concepts.First, is the concept of the unfinalizable self: individual people cannot be finalized, completely understood, known, or labeled. Though it is possible to understand people and to treat them as if they are completely known, Bakhtin’s conception of unfinalizability respects the possibility that a person can change, and that a person is never fully revealed or fully known in the world. Readers may find that this conception reflects the idea of the soul; Bakhtin had strong roots in Christianity and in the Neo-Kantian school led by Hermann Cohen, both of which emphasized the importance of an individual's potentially infinite capability, worth, and the hidden soul.Second, is the idea of the relationship between the self and others, or other groups. According to Bakhtin, every person is influenced by others in an inescapably intertwined way, and consequently no voice can be said to be isolated. In an interview, Bakhtin once explained that, In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding—in time, in space, in culture. For one cannot even really see one's own exterior and comprehend it as a whole, and no mirrors or photographs can help; our real exterior can be seen and understood only by other people, because they are located outside us in space, and because they are others. ~New York Review of Books, June 10, 1993.As such, Bakhtin's philosophy greatly respected the influences of others on the self, not merely in terms of how a person comes to be, but also in how a person thinks and how a person sees him- or herself truthfully.Third, Bakhtin found in Dostoevsky's work a true representation of polyphony, that is, many voices. Each character in Dostoevsky's work represents a voice that speaks for an individual self, distinct from others. This idea of polyphony is related to the concepts of unfinalizability and self-and-others, since it is the unfinalizability of individuals that creates true polyphony.Bakhtin briefly outlined the polyphonic concept of truth. He criticized the assumption that, if two people disagree, at least one of them must be in error. He challenged philosophers for whom plurality of minds is accidental and superfluous. For Bakhtin, truth is not a statement, a sentence or a phrase. Instead, truth is a number of mutually addressed, albeit contradictory and logically inconsistent, statements. Truth needs a multitude of carrying voices. It cannot be held within a single mind, it also cannot be expressed by "a single mouth." The polyphonic truth requires many simultaneous voices. Bakhtin does not mean to say that many voices carry partial truths that complement each other. A number of different voices do not make the truth if simply "averaged" or "synthesized." It is the fact of mutual addressivity, of engagement, and of commitment to the context of a real-life event, that distinguishes truth from untruth.When, in subsequent years, Problems of Dostoyevsky’s Art was translated into English and published in the West, Bakhtin added a chapter on the concept of carnival and the book was published with the slightly different title, Problems of Dostoyevsky’s Poetics. According to Bakhtin, carnival is the context in which distinct individual voices are heard, flourish and interact together. The carnival creates the "threshold" situations where regular conventions are broken or reversed and genuine dialogue becomes possible. The notion of a carnival was Bakhtin's way of describing Dostoevsky's polyphonic style: each individual character is strongly defined, and at the same time the reader witnesses the critical influence of each character upon the other. That is to say, the voices of others are heard by each individual, and each inescapably shapes the character of the other.http://en.wikipedia.org/wiki/Mikhail_...

    Set against the political upheavals of Italy in the 1860s, it focuses on Don Fabrizio, a Sicilian prince of immense sensual appetites, wealth, and great personal magnetism. Around this powerful figure swirls a glittering array of characters: a Bourbon king, liberals and pseudo liberals, peasants and millionaires.

    A sinister totalitarian ministry called the Palace of Dreams recruits Mark-Alem to sort, classify, and interpret the dreams of the people in the empire, seeking the master-dreams that give clues to the empire's destiny.

    Torn between his professed doctrine of poverty and chastity and the reality of his enormous wealth and thirteen children, Tolstoy dramatically flees his home, only to fall ill at a tiny nearby rail station. The famous (and famously troubled) writer believes he is dying alone, unaware that over a hundred newspapermen camp outside awaiting hourly reports on his condition. Jay Parini moves deftly between a colorful cast of characters to create a stunning portrait of one of the world’s most treasured authors. Dancing between fact and fiction, The Last Station is a brilliant and moving literary performance.

    When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear--they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya's girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky's long-awaited Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.Finalist for the T. S. Eliot PrizeFinalist for the Forward Prize for Best Collection