You don't need to give Arthur more than one chance to do the Government or trick the foreman.And when the day's work is over, Arthur is off to the pubs, raring for adventure. He is a warrior of the bottle and the bedroom - his slogan is 'If it's going, it's for me' - for his aim is to cheat the world before it can cheat him. And never is the battle more fiercely joined than on Saturday night.But Sunday morning is the time of reckoning, the time for facing up to life - the time, too, you run the risk of getting hooked!Arthur is no exception.

    Valdemar --The fall of the House of Usher --The gold-bug --The imp of the perverse --The masque of the red death --The murders in the Rue Morgue --The pit and the pendulum --The premature burial --The purloined letter --The tell-tale heart.

    With incomparable glee, Miller shifts effortlessly from Virgil to venereal disease, from Rabelais to Roquefort. In this seductive technicolor swirl of Paris and New York, he captures like no one else the blending of people and the cities they inhabit.

    It is the 1860s; Japan is closed to foreigners and this has to be a clandestine operation. During his undercover negotiations with the local baron, Joncour's attention is arrested by the man's concubine, a girl who does not have Oriental eyes. Although the young Frenchman and the girl are unable to exchange so much as a word, love blossoms between them, conveyed by a number of recondite messages in the course of four visits the Frenchman pays to Japan. How their secret affair develops and how it unfolds is told in a narration as beautiful, smooth and seamless as a piece of the finest silk.

    Then the Great War intervenes. Half a century later, in August of 1964, Alessandro, a white-haired professor, tall and proud, meets an illiterate young factory worker on the road. As they walk toward Monte Prato, a village seventy kilometers away, the old man—a soldier and a hero who became a prisoner and then a deserter, wandering in the hell that claimed Europe—tells him how he tragically lost one family and gained another. The boy, envying the richness and drama of Alessandro's experiences, realizes that this magnificent tale is not merely a story: it's a recapitulation of his life, his reckoning with mortality, and above all, a love song for his family.

    Gradually, the two learn to adjust to each other's fears, whims and yearnings for independence, and a fierce yet understated love emerges - one that encompasses not only the summer inhabitants but the island itself, with its mossy rocks, windswept firs and unpredictable seas.Full of brusque humour and wisdom, The Summer Book is a profoundly life-affirming story. Tove Jansson captured much of her own experience and spirit in the book, which was her favourite of the novels she wrote for adults. This new edition sees the return of a European literary gem - fresh, authentic and deeply humane.

    Norris and Goodbye to Berlin, which make up The Berlin Stories are recognized today as classics of modern fiction.A charming city of avenues and cafés, a grotesque city of night-people and fantasts, a dangerous city of vice and intrigue, a powerful city of millionaires and mobs - all this was Berlin in 1931, the period when Hitler was beginning his move to power.Here are Mr. Norris, the improbable old debauchee mysteriously caught in the struggle between Nazis and Communists; plump Fräulein Schroeder, who thinks an operation to reduce the scale of her Büste might relieve her heart palpitations; the Landauers, a distinguished and doomed Jewish family; Sally Bowles, whose misadventures in the demimonde were popularized on the American stage and screen by Julie Harris in "I Am a Camera" and by Liza Minelli in "Cabaret."

    The woman at the center wavers between stasis and movement, between the need to belong and the refusal to form lasting ties. The city she calls home, an engaging backdrop to her days, acts as a confidant: the sidewalks around her house, parks, bridges, piazzas, streets, stores, coffee bars. We follow her to the pool she frequents and to the train station that sometimes leads her to her mother, mired in a desperate solitude after her father's untimely death. In addition to colleagues at work, where she never quite feels at ease, she has girl friends, guy friends, and "him," a shadow who both consoles and unsettles her. But in the arc of a year, as one season gives way to the next, transformation awaits. One day at the sea, both overwhelmed and replenished by the sun's vital heat, her perspective will change. This is the first novel she has written in Italian and translated into English. It brims with the impulse to cross barriers. By grafting herself onto a new literary language, Lahiri has pushed herself to a new level of artistic achievement.

    With The Old Man and Me, written when Dundy was living in England in the early 1960s, she tackles the American girl in London, a bit older but certainly no wiser. Honey Flood (if that’s her real name) arrives in London with only her quick wits and a scheme. To get what she wants, she’ll have to seduce the city’s brightest literary star, no matter how many would-be bohemians she has to charm, how many smoky jazz clubs she has to brave, or how many Lady Something-Somethings she has to humor. But with success within her reach, Honey finds that in making the Soho scene, she’s made a big mistake.

    Dr Iannis practices medicine on the island of Cephalonia, accompanied by his daughter, Pelagia, to whom he imparts much of his healing art. Even when the Italians do invade, life isn’t so bad—at first anyway. The officer in command of the Italian garrison is the cultured Captain Antonio Corelli, who responds to a Nazi greeting of “Heil Hitler” with his own “Heil Puccini”, and whose most precious possession is his mandolin. It isn't long before Corelli and Pelagia are involved in a heated affair--despite her engagement to a young fisherman, Mandras, who has gone off to join Greek partisans. Love is complicated enough in wartime, even when the lovers are on the same side. And for Corelli and Pelagia, it becomes increasingly difficult to negotiate the minefield of allegiances, both personal and political, as all around them atrocities mount, former friends become enemies and the ugliness of war infects everyone it touches. British author Louis de Bernières is well known for his forays into magical realism in such novels as The War of Don Emmanuel's Nether Parts, Señor Vivo and the Coca Lord and The Troublesome Offspring of Cardinal Guzman. Here he keeps it to a minimum, though certainly the secondary characters with whom he populates his island—the drunken priest, the strongman, the fisherman who swims with dolphins—would be at home in any of his wildly imaginative Latin American fictions. Instead, de Bernières seems interested in dissecting the nature of history as he tells his ever-darkening tale from many different perspectives. Captain Corelli’s Mandolin works on many levels, as a love story, a war story and a deconstruction of just what determines the facts that make it into the history books.

    Filled with an abiding sense of love and family, and of the forces that test them to the breaking point, Wildlife—first published by Atlantic Monthly Press in 1990 and now reissued as a Grove Press paperback—is a book whose spare poetry and expansive vision established it as an American classic.

    The late Gavelis's first translation into English centers on Vytautas Vargalys, a semijustifiably paranoid labor camp survivor who works at a library no one visits while he desperately investigates the Them or They responsible for dehumanizing and killing the humans around him, including his wife, Irena; his genius friend, Gedis; and the young siren, Lolita. Meanwhile, failed intellectual Martynas chronicles Vargalys's struggle and the city's mysterious energy in his mlog, library worker Stefanija Monkeviciute dwells on her wavering faith and personal humiliations, and the city itself speaks in the voice of a dog, claiming that Vilnius can't distinguish dreams from reality. Wrought—and fraught—with symbolism and ennui, the oppressive internal monologues of the characters and the city show the intense importance and equal absurdity of life.

    It is the story of Nedra and Viri, whose favored life is centered around dinners, ingenious games with their children, enviable friends, and near-perfect days passed skating on a frozen river or sunning on the beach. But even as he lingers over the surface of their marriage, Salter lets us see the fine cracks that are spreading through it, flaws that will eventually mar the lovely picture beyond repair. Seductive, witty, and elegantly nuanced, Light Years is a classic novel of an entire generation that discovered the limits of its own happiness—and then felt compelled to destroy it.

    In the process of compacting, he has acquired an education so unwitting he can't quite tell which of his thoughts are his own and which come from his books. He has rescued many from jaws of hydraulic press and now his house is filled to the rooftops. Destroyer of the written word, he is also its perpetrator.But when a new automatic press makes his job redundant there's only one thing he can do - go down with his ship.This is an eccentric romp celebrating the indestructability- against censorship, political opression etc - of the written word.

    Happily loitering about London, c. 1949, with intent to gather material for her writing, Fleur finds a job "on the grubby edge of the literary world," as secretary to the peculiar Autobiographical Association. Mad egomaniacs, hilariously writing their memoirs in advance—or poor fools ensnared by a blackmailer? Rich material, in any case. But when its pompous director, Sir Quentin Oliver, steals the manuscript of Fleur's new novel, fiction begins to appropriate life. The association's members begin to act out scenes exactly as Fleur herself has already written them in her missing manuscript. And as they meet darkly funny, pre-visioned fates, where does art start or reality end? "A delicious conundrum," The New Statesman called Loitering with Intent.