In the pared-down style that has since become his hallmark, Carver showed us how humour and tragedy dwelt in the hearts of ordinary people, and won a readership that grew with every subsequent brilliant collection of stories, poems and essays that appeared in the last eleven years of his life.

    One is the widow herself, Tati. Still young, she’s never had an easy time of it, but she’s not the kind to complain. Tati lives with her father-in-law on the family farm, putting up with his sexual attentions, working her fingers to the bone, improving the property and knowing all the time that her late husband’s sister is scheming to kick her out and take the house back. The other is a killer. Just out of prison and in search of a new life, Jean meets up with Tati, who hires him as a handyman and then takes him to bed. Things are looking up, at least until Jean falls hard for the girl next door.The Widow was published in the same year as Camus’ The Stranger, and André Gide judged it the superior book. It is Georges Simenon’s most powerful and disturbing exploration of the bond between death and desire.

    Mouchette stands with his celebrated Diary of a Country Priest as the perfection of his singular art.“Nothing but a little savage” is how the village school-teacher describes fourteen-year-old Mouchette, and that view is echoed by every right-thinking local citizen. Mouchette herself doesn’t bother to contradict it; ragged, foulmouthed, dirt-poor, a born liar, and loser, she knows herself to be, in the words of the story, “alone, completely alone, against everyone.” Hers is a tale of “tragic solitude” in which despair and salvation appear to be inextricably intertwined. Bernanos uncompromising genius was a powerful inspiration to Flannery O’Connor, and Mouchette was the source of a celebrated movie by director Robert Bresson.

    Pepper's cover, Terry Southern was an audacious original. Now Dig This is a journey through Terry Southern's America, from the buttoned-down '50s through the sexual revolution, rock 'n' roll, and independent cinema (which he helped inaugurate by cowriting and producing Easy Rider), up to his death in 1995. It spans Southern's stellar career, from early short stories and a Paris Review interview with Henry Green, to his legendary Esquire piece covering the 1968 Chicago Democratic Convention with Jean Genet and William Burroughs and his equally infamous account of life neck-high in girls and cocaine aboard The Rolling Stones' tour jet, to his memories of twentieth-century legends like Abbie Hoffman, Kurt Vonnegut, and Stanley Kubrick, with whom he wrote Dr. Strangelove. "A voice electric with street rhythm and royal with offhand intellection ... stuffed with strange and silken scraps." -- Troy Patterson, Entertainment Weekly "The subterranean Texan's finest moments are exquisite reads ... like a hot poker in the eye of conventional narrative." -- A. D. Amorosi, Philadelphia City Paper "The range of writing ... [was] as lethal as Mailer claimed and still awaiting the attention it deserves." -- Charles Taylor, Newsday "... reveals a writer defined by his generosity, by the pursuit of fun and by an insatiable ... literary appetite...." -- Claire Dederer, The New York Times Book Review

    In a search for truth in all its guises, he dispenses with the rules of genre. For him, no form is out of reach: Theology, historiography, reportage, and memoir--among many others--are fused under the pressure of an inimitable combination of passion, curiosity, and intellect that has made Carrère one of our most distinctive and important literary voices today.97,196 Words introduces Carrère's shorter work to an English-language audience. Featuring more than thirty extraordinary texts written over an illustrious twenty-five-year period of Carrère's creative life, the book shows a remarkable mind at work. Spanning continents, histories, and personal relationships, 97,196 Words considers the divides between truth, reality, and our shared humanity, exploring remarkable events and eccentric lives, including Carrère's own.

    Jones Dues Dale Peck Speckle Trout Ron Rash Sphinxes Timothy Crouse Grace Paula Fox Snowbound Liza Ward Tea Nancy Reisman Christie Caitlin Macy Refuge in London Ruth Prawer Jhabvala The Drowned Woman Frances De Pontes Peebles The Card Trick Tessa Hadley What You Pawn I Will Redeem Sherman Alexie

    Moving from the drawing rooms of pre-war Paris to the lives of men and women in wartime France, here we find the beautiful work of a writer at the height of her tragically short career.Contents:Dimanche = Sunday --Les rivages heureux = Those happy shores --Liens du sang = Flesh and blood --Fraternité = Brotherhood --La femme de don Juan = Don Juan's wife --Le sortilège = The spell --Le spectateur = The spectator --Monsieur Rose = Mr. Rose --La confidente = The confidante --L'inconnu = The unknown soldier.

    Lord have pity on us!"With these words, Pierre Boulle hurtles the reader onto the Planet of the Apes. In this simian world, civilization is turned upside down: apes are men and men are apes; apes rule and men run wild; apes think, speak, produce, wear clothes, and men are speechless, naked, exhibited at fairs, used for biological research. On the planet of the apes, man, having reached to apotheosis of his genius, has become inert.To this planet come a journalist and a scientist. The scientist is put into a zoo, the journalist into a laboratory. Only the journalist retains the spiritual strength and creative intelligence to try to save himself, to fight the appalling scourge, to remain a man.Out of this situation, Pierre Boulle has woven a tale as harrowing, bizarre, and meaningful as any in the brilliant roster of this master storyteller. With his customary wit, irony, and disciplined intellect and style, the author of The Bridge Over the River Kwai tells a swiftly moving story dealing with man's conflicts, and takes the reader into a suspenseful and strangely fascinating orbit.

    Disagreeable Tales, first published in French in 1894, collects Bloy's narrative sermons from the depths: a cauldron of frightful anecdotes and inspired misanthropy that represents a high point of the French Decadent movement and the most emblematic entry into the library of the "Cruel Tale" christened by Villiers de l'Isle-Adam. Whether depicting parents and offspring being sacrificed for selfish gains, or imbeciles sacrificing their own individuality on a literary whim, these tales all draw sustenance from an underlying belief: the root of religion is crime against man, nature and God, and that in this hell on earth, even the worst among us has a soul.A close friend to Joris-Karl Huysmans, and later admired by the likes of Kafka and Borges, Léon Bloy (1846–1917) is among the best known but least translated of the French Decadent writers. Nourishing antireligious sentiments in his youth, his outlook changed radically when he moved to Paris and came under the influence of Barbey d'Aurevilly, the unconventionally religious novelist best known for Les Diaboliques. He earned the dual nicknames of "The Pilgrim of the Absolute" through his unorthodox devotion to the Catholic Church, and "The Ungrateful Beggar" through his endless reliance on the charity of friends to support him and his family.

    They stay in a hotel, drink hot chocolate, and go to the funfair. She wants to protect them from an uncaring and uncomprehending world. She knows that it will be the last trip for her boys.Beside the Sea is a haunting and thought-provoking story about how a mother's love for her children can be more dangerous than the dark world she is seeking to keep at bay. It's a hypnotizing look at an unhinged mind and the cold society that produced it. With language as captivating as the story that unfolds, Véronique Olmi creates an intimate portrait of madness and despair that won't soon be forgotten.

    The city it evokes isn’t the Paris of tourists but of local people."—The New York Times"Fabre is a genius of these nuanced, interior moments ... The story Fabre tells is that of every one of us: looking for meaning in the mundane, moving through our lives, our interactions, as if through the fabric of a dream ... How do we live? it asks to consider. And: What does our existence mean?"—Los Angeles Times"Guys Like Me is a short, arresting tale that ...not only offers keen insights into the mind of its middle-aged protagonist, but also provides the reader with a unique tour of what everyday life in the low-key suburbs of Paris must truly be like."—Typographical Era"Readers will take pleasure in this well-told tale with a satisfying ending."––Publishers Weekly"The setting may be Paris, but it’s not the Paris of grand avenues and pricey cafés. In fact, Fabre’s hero is a recognizable everyman, from any country."—Library JournalA smile like a soft flash of light . . . travels through this moving novel and tells, in words that are muted and profoundly humane, of life as it is."—Le Monde"Fabre speaks to us of luck and misfortune, of the accidents that make a man or defeat him. He talks about our ordinary disappointments and our small moments of calm. Fabre is the discreet megaphone of the man in the crowd."—Elle"In this novel one finds the intimate geography of an author who lays bare the essence of Paris and its outskirts."—La Quinzaine littéraireDominique Fabre, born in Paris and a lifelong resident of the city, exposes the shadowy, anonymous lives of many who inhabit the French capital. In this quiet, subdued tale, a middle-aged office worker, divorced and alienated from his only son, meets up with two childhood friends who are similarly adrift, without passions or prospects. He's looking for a second act to his mournful life, seeking the harbor of love and a true connection with his son. Set in palpably real Paris streets that feel miles away from the City of Light, Guys Like Me is a stirring novel of regret and absence, yet not without a glimmer of hope.Dominique Fabre, born in 1960, writes about people living on society's margins. He is a lifelong resident of Paris, France. His previous novel, The Waitress Was New, was also translated into English.

    "It must be established as a law that adventure in itself does not exist," Mac Orlan stipulates. "Adventure is in the mind of the one who pursues it, and no sooner is he able to touch it with his finger than it vanishes, to reappear much farther off in another form, at the limits of the imagination." This handbook outlines two classes of adventurer: the active adventurer (sailors, soldiers, criminals) and the passive adventurer (sedentary parasites who draw sustenance from the exploits of the former). Roaming from battlefields to pirate ships to port-town taverns, and offering advice on reading, traveling and eroticism, Mac Orlan's "Handbook" is ultimately a how-to manual for the imagination, and a formulation of the stark choice all would-be adventurers must face: to live or write.Generally known as the author of "Le Quai des brumes" (the basis for Marcel Carne's film of the same name), Pierre Mac Orlan (1882-1970) was a prolific writer of absurdist tales, adventure novels, flagellation erotica and essays, as well as the composer of a trove of songs made famous by the likes of Juliette Greco. A member of both the Academie Goncourt and the College de 'Pataphysique, Mac Orlan was admired by everyone from Raymond Queneau and Boris Vian to Andre Malraux and Guy Debord.

    In this brilliant translation by Matvei Yankelevich, English-language readers now have a comprehensive collection of the prose and poetry that secured Kharms s literary reputation a reputation that grew in Russia even as the Soviet establishment worked to suppress it.A master of formally inventive poetry and what today would be called micro-fiction, Kharms built off the legacy of Russian Futurist writers to create a uniquely deadpan style written out of and in spite of the absurdities of life in Stalinist Russia. Featuring the acclaimed novella The Old Woman and darkly humorous short prose sequence Events (Sluchai), Today I Wrote Nothing also includes dozens of short prose pieces, plays, and poems long admired in Russia, but never before available in English. A major contribution for American readers and students of Russian literature and an exciting discovery for fans of contemporary writers as eclectic as George Saunders, John Ashbery, and Martin McDonagh, Today I Wrote Nothing is an invaluable collection for readers of innovative writing everywhere.About the EditorMATVEI YANKELEVICH is also a co-translator of Oberiu: An Anthology of Russian Absurdism (2006). His translation of the Vladimir Mayakovsky's poem "Cloud in Pants" appears in Night Wraps the Sky: Writings by and About Mayakovsky. He is the author of a long poem, The Present Work, and his writing has appeared in Fence, Open City, and many other literary journals. He teaches Russian Literature at Hunter College in New York City and edits the Eastern European Poets Series at Ugly Duckling Press in Brooklyn.

    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...

    Mysterious, funny, insightful, and heartbreaking, these are tales of expatriates and exiles, wise children and straying saints. Together they compose a secret history, at once intimate and panoramic, of modern times.