On that same day, a brilliant mathematician is locked away inside a Moscow prison that houses the country's brightest minds. He and his fellow prisoners are charged with using their abilities to sleuth out the caller's identity, and they must choose whether to aid Joseph Stalin's repressive state—or refuse and accept transfer to the Siberian Gulag camps . . . and almost certain death.First written between 1955 and 1958, In the First Circle is Solzhenitsyn's fiction masterpiece. In order to pass through Soviet censors, many essential scenes—including nine full chapters—were cut or altered before it was published in a hastily translated English edition in 1968. Now with the help of the author's most trusted translator, Harry T. Willetts, here for the first time is the complete, definitive English edition of Solzhenitsyn's powerful and magnificent classic.

    Readers who know Milan Kundera’s earlier books know that the wish to incorporate an element of the “unserious” in a novel is not at all unexpected of him. In Immortality, Goethe and Hemingway stroll through several chapters together talking and laughing. And in Slowness, Vera, the author’s wife, says to her husband: “you’ve often told me you meant to write a book one day that would have not a single serious word in it…I warn you: watch out. Your enemies are lying in wait.”Now, far from watching out, Kundera is finally and fully realizing his old aesthetic dream in this novel that we could easily view as a summation of his whole work. A strange sort of summation. Strange sort of epilogue. Strange sort of laughter, inspired by our time, which is comical because it has lost all sense of humor. What more can we say? Nothing. Just read.

    It is also a wonderful piece of travel writing. Custine, who met with people in all walks of life, including the Czar himself, offers vivid descriptions of St. Petersburg and Moscow, of life at court and on the street, and of the impoverished Russian countryside. But together with a wealth of sharply delineated incident and detail, Custine's great work also presents an indelible picture--roundly denounced by both Czarist and Communist regimes--of a country crushed by despotism and "intoxicated with slavery."Letters from Russia, here published in a new edition prepared by Anka Muhlstein, the author of the Goncourt Prize-winning biography of Custine, stands with Tocqueville's Democracy in America as a profound and passionate encounter with historical forces that are still very much at work in the world today.

    Edited and with a Preface by Gunther Stuhlmann

    Antelme's story of his experiences in Germany--his only book--indelibly marked an entire generation, "a work written without hatred, a work of boundless compassion such as that is to be found only in the great Russians."

    This collection has more than twenty-five selections, including such important statements as "Modern Fiction" and "The Modern Essay."

    Presenting itself as an investigation into the suicide of a close friend—perhaps real, perhaps fictional—more than twenty years earlier, Levé gives us, little by little, a striking portrait of a man, with all his talents and flaws, who chose to reject his life, and all the people who loved him, in favor of oblivion. Gradually, through Levé’s casually obsessive, pointillist, beautiful ruminations, we come to know a stoic, sensible, thoughtful man who bears more than a slight psychological resemblance to Levé himself. But Suicide is more than just a compendium of memories of an old friend; it is a near-exhaustive catalog of the ramifications and effects of the act of suicide, and a unique and melancholy farewell to life.

    Essential to the understanding of the searching and remarkably informed spirit of this protean writer.

    It is the most widely read and frequently adapted story of all time, on stage and on film. But why is Les Misérables the novel of the century? David Bellos's remarkable new book brings to life the extraordinary story of how Hugo managed to write his epic novel despite a revolution, a coup d'état and political exile; how he pulled off the deal of the century to get it published, and set it on course to become the novel that epitomizes the grand sweep of history in the nineteenth century. Packed full of information about the background and design of Les Misérables, this biography of a masterpiece nonetheless insists that the moral and social message of Hugo's ever-popular novel is just as important for our century as it was for its own. The Novel of the Century is a book as rich, remarkable and long-lasting as the novel at its heart.Les Misérables is available as a Penguin Classic, in an acclaimed new translation by Christine Donougher, with an introduction by Robert Tombs.

    In trying to explain who he was and how he came to be the object of others' admiration and abuse, Rousseau analyses with unique insight the relationship between an elusive but essential inner self and the variety of social identities he was led to adopt. The book vividly illustrates the mixture of moods and motives that underlie the writing of autobiography: defiance and vulnerability, self-exploration and denial, passion, puzzlement, and detachment. Above all, Confessions is Rousseau's search, through every resource of language, to convey what he despairs of putting into words: the personal quality of one's own existence.

    Written across different times and places, Memoirs from Beyond the Tomb tells of exotic adventures to the farthest points of the globe, of heroic battles and political struggles, and of the loneliness of a restless soul. And its startling candor—because it would be published only “from beyond the tomb”—makes it almost ridiculously enjoyable.For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    It is a witty fricassee of food and fashion, pets and painters, musicians, friends, and artists, served up with a healthy garnish of "Steinien" humor and self-indulgence. For readers who have previously considered Gertrude Stein to be a difficult or even unreadable author, Paris France provides a delightful window on her personal and unique world.

      In The Violet Hour, Katie Roiphe takes an unexpected and liberating approach to the most unavoidable of subjects. She investigates the last days of five great thinkers, writers, and artists as they come to terms with the reality of approaching death, or what T. S. Eliot called “the evening hour that strives Homeward, and brings the sailor home from sea.”   Roiphe draws on her own extraordinary research and access to the family, friends, and caretakers of her subjects. Here is Susan Sontag, the consummate public intellectual, who finds her commitment to rational thinking tested during her third bout with cancer. Roiphe takes us to the hospital room where, after receiving the worst possible diagnosis, seventy-six-year-old John Updike begins writing a poem. She vividly re-creates the fortnight of almost suicidal excess that culminated in Dylan Thomas’s fatal collapse on the floor of a Greenwich Village tavern. She gives us a bracing portrait of Sigmund Freud fleeing Nazi-occupied Vienna only to continue in his London exile the compulsive cigar smoking that he knows will hasten his decline. And she shows us how Maurice Sendak’s beloved books for children are infused with his lifelong obsession with death, if you know where to look.  The Violet Hour is a book filled with intimate and surprising revelations. In the final acts of each of these creative geniuses are examples of courage, passion, self-delusion, pointless suffering, and superb devotion. There are also moments of sublime insight and understanding where the mind creates its own comfort. As the author writes, “If it’s nearly impossible to capture the approach of death in words, who would have the most hope of doing it?” By bringing these great writers’ final days to urgent, unsentimental life, Katie Roiphe helps us to look boldly in the face of death and be less afraid.

    Rich in verbal and situational humour, they offer a fascinating insight into many of the issues which preoccupied Beckett all his working life. As the first novella reveals, nobody writes with quite such cruel and unnervingly clever wit as Beckett...

    Anna Akhmatova rose to fame in the years before World War I, but she would pay a heavy price for the political and personal passions that informed her brilliant poetry. In Anna of All the Russias we see Akhmatova's work banned from 1925 until 1940 and again after World War II. We see her steadfast opposition to Stalin, even while her son was held in the Gulag. We see her abiding loyalty to such friends as Mandelstam, Shostakovich, and Pasternak as they faced Stalinist oppression. And we see how, through everything, Akhmatova continued to write, her poetry giving voice to the Russian people by whom she was, and still is, deeply loved.