These objects—a cigarette lighter, lollipop sticks, a beer-bottle opener, etc.—like the fictional pieces of the novel itself, are seemingly random at first, but eventually coalesce, meaningfully and poetically.Written in a variety of literary forms, The Museum of Unconditional Surrender captures the shattered world of living in exile. Some chapters re-create the daily journal of the narrator's lonely and alienated mother, who shops at the improvised flea-markets in town and longs for her children; another is a dream-like narrative in which a circle of women friends are visited by an angel. There are reflections and accounts of the Holocaust and the Yugoslav Civil War; portraits of European artists; a recipe for Caraway Soup; a moving story of a romantic encounter the narrator has in Lisbon; descriptions of family photographs; memories of the small town in which Ugresic was raised.Addressing the themes of art and history, aging and loss, The Museum is a haunting and an extremely original novel. In the words of the Times Literary Supplement, "it is vivid in its denunciation of destructive forces and in its evocation of what is at stake."

    If a novelist's first duty is to tell the truth, then the author has done his duty with unflinching courage. Intimacy gives us the thoughts and memories of a middle-aged writer on the night before he walks out on his wife and two young sons for of a younger woman. A very modern man, without political convictions or religious beliefs, he vaguely hopes to find fulfillment in sexual love. No one is spared Kureishi's cold, penetrating gaze or lacerating pen. "She thinks she's feminist, but she's just bad-tempered," the unnamed narrator says of his abandoned wife. A male friend advises him, "Marriage is a battle, a terrible journey, a season in hell, and a reason for living." At the heart of Intimacy is this terrible paradox: "You don't stop loving someone just because you hate them." Male readers will wince with recognition at the narrator's hatred of entrapment and domesticity, and his implacable urge towards freedom, escape, even loneliness. Female readers may find it a truly horrific revelation. Kureishi is only telling it like it is, in staccato sentences of pinpoint accuracy. By far the author's best yet: a brilliant, devastating work. --Christopher Hart, Amazon.co.uk

    He’s engaged to be married and the employment market is pretty slim in Britain in 1937. So when his fiancé points out the Spartacus Machine Tool notice, he jumps at the chance. After all, he speaks Italian and he figures he’ll be able to endure Milan for a year, long enough to save some money. Soon after he arrives, however, he learns the sinister truth of his predecessor’s death and finds himself courted by two agents with dangerously different agendas. In the process, Marlow realizes it’s not so simple to just do the job he’s paid to do in fascist Italy on the eve of a world war.

    It also began Coover's now-trademark riffs on fairy tales and bedtime stories. In these riotously word-drunk fictional romps, two children follow an old man into the woods, trailing bread crumbs behind and edging helplessly toward a sinister end that never comes; a husband walks toward the bed where his wife awaits his caresses, but by the time he arrives she's been dead for three weeks and detectives are pounding down the door; a teenaged babysitter's evening becomes a kaleidoscope of dangerous erotic fantasies-her employer's, her boyfriend's, her own; an aging, humble carpenter marries a beautiful but frigid woman, and after he's waited weeks to consummate their union she announces that God has made her pregnant. Now available in a Grove paperback, Pricksongs & Descants is a cornerstone of Robert Coover's remarkable career and a brilliant work by a major American writer.

    Love in Excess and its reception provide a lively and valuable record of the challenge that female desire posed to social decorum.

    Subtitled a "psychological novel" by its author, who also called it a biography, the work is actually a highly authentic autobiography. The work is singular for two reasons, the first being its perspective. Moritz was a neglected child of a loveless marriage living in a family near the bottom of the social ladder. It is small wonder that Moritz developed into the eternal outsider. With this background, his description of the struggles he endured in acquiring an education give us an unusually rich picture of that day. This autobiography is also quite singular in that it is not the usual summation by some elderly person of his road to success; rather, it is an examination by a thirty-year-old of how the various forces playing on him in his first twenty years joined to misdirect him into hopes for a theatrical career. With a gift for self-examination doubtless acquired from his Pietistic background, he is able to give a brilliant picture of how he acquired and struggled with his own neuroses, and it is this struggle that gives his book its timeless character.

    The concentration of language and precision of description in the current work is revolutionary, even for Beckett, the great reshaper of literary expression, and its theme is the creation of life, as if by a malignant God or Demiurge. Life, against all possibility, finally exists, and man becomes a painful presence. It is one of the supreme poetic texts of the 20th century.

    Two years before, an assignment to follow a strayed husband and his mistress appeared simple enough, but this routine job left George a transformed man.Suspenseful, moving, and hailed by critics as a detective story unlike any other, The Light of Day is a gripping tale of murder and redemption, as well as a bold exploration of love and self-discovery. This powerful novel signals yet another groundbreaking achievement from Graham Swift, the author of the Booker Prize-winning novel Last Orders.

    It is generally regarded as the masterpiece of Conscience, which earned him the title "the man who taught his people to read".

    She steals away from a small Irish town and drifts through the industrial English Midlands, searching for the boyfriend who left her. Instead she meets up with the fat, fiftyish, unfailingly reasonable Mr. Hilditch, who is looking for a new friend to join the five other girls in his Memory Lane. But the strange, sad, terrifying tricks of chance unravel both his and Felicia's delusions in a story that will magnetize fans of Alfred Hitchcock and Ruth Rendell even as it resonates with William Trevor's own "impeccable strength and piercing profundity" (The Washington Post Book World).

    Down Second Avenue is a landmark book that describes Mphahlele’s experience growing up in segregated South Africa. Vivid, graceful, and unapologetic, it details a daily life of severe poverty and brutal police surveillance under the subjugation of an apartheid regime. Banned in South Africa after its original 1959 publication for its protest against apartheid, Down Second Avenue is a foundational work of literature that continues to inspire activists today.

    Turning the male-dominated literary world to her advantage, she happily exploits the attentions of four very different suitors. Will she bestow her hand upon the richest of them, or on the man she loves? Ethelberta Petherwin, alias Berta Chickerel, moves with easy grace between her multiple identities, cleverly managing a tissue of lies to aid her meteoric rise. In "The Hand of Ethelberta" (1876), Hardy drew on conventions of popular romances, illustrated weeklies, plays, fashion plates, and even his wife's diary in this comic story of a woman in control of her destiny.

    Treated as a failure at school, and unhappy at home, Billy discovers a new passion in life when he finds Kes, a kestrel hawk. Billy identifies with her silent strength and she inspires in him the trust and love that nothing else can, discovering through her the passion missing from his life. Barry Hines's acclaimed novel continues to reach new generations of teenagers and adults with its powerful story of survival in a tough, joyless world.

    The child of a well-to-do family, Myrsini enthusiastically joins the underground resistance, making common cause with a varied cast of characters from backgrounds very different from her own. After an early failed love affair she gets engaged to George, a political prisoner, only to find her human instincts increasingly difficult to reconcile with her idealistic philosophy once he is released. The story moves towards its climax as Myrsini becomes involved in the bloody events of 17th November 1973, when tanks were used to evict students from the Athens Polytechnic. At the same time the fortunes of Myrsini's family form a backdrop at once touching and bizarre to an impressionable girl's unflinching search for a true identity, both for herself and for her country.

    Disillusioned and loveless, a chain-smoking art history professor who spends her spare time singing in nightclubs and tending to her young daughter finds herself pursued by an erratic, would-be librettist.