When first published, La Batarde earned Violette Leduc comparisons to Jean Genet for the frank depiction of her sexual escapades and immoral behavior. A confession that contains portraits of several famous French authors, this book is more than just a scintillating memoir. Like that of Henry Miller, Leduc's brilliant writing style and attention to language transform this autobiography into a work of art.Violette Leduc was born the illegitimate daughter of a servant girl and was encouraged to write by Maurice Sachs and Simone de Beauvoir. Her first novel, L'Asphyxie (In the Prison of Her Skin), was published by Camus for Gallimard and earned her praise from Jean-Paul Sartre, Jean Cocteau, and Jean Genet. She went on to write eight more books, including Ravages, L'Affamee, and La Folie en tete (Mad in Pursuit), the second part of her literary autobiography.

    Three of his dragoons, involved with him in different capacities, remember him and help the reader piece together the realities behind the man and his death.One was a distant relative, one his orderly, and the third who had been a jockey in his stable before the war, had also been his wife's secret lover.

    In impressionistic, diary form he ruthlessly catalogues his every feeling and sensation about the world and people around him. His thoughts culminate in a pervasive, overpowering feeling of nausea which "spread at the bottom of the viscous puddle, at the bottom of our time, the time of purple suspenders and broken chair seats; it is made of wide, soft instants, spreading at the edge, like an oil stain." Roquentin's efforts to try and come to terms with his life, his philosophical and psychological struggles, give Sartre the opportunity to dramatize the tenets of his Existentialist creed.The introduction for this edition of Nausea by Hayden Carruth gives background on Sartre's life and major works, a summary of the principal themes of Existentialist philosophy, and a critical analysis of the novel itself.

    In this shocking tale of sexual deception, Gautier draws readers into the bedrooms and boudoirs of a French château in a compelling exploration of desire and sexual intrigue, and gives voice to a longing which is larger in scope, namely, the wish for completeness in oneself.

    It is a long narrative prose poem which celebrates the principle of Evil in an elaborate style and with a passion akin to religious fanaticism. The French poet-critic Georges Hugnet has written of Lautréamont: "He terrifies, stupefies, strikes dumb. He could look squarely at that which others had merely given a passing glance."Little is known of the author of Maldoror, Isidore Ducasse, self-styled Comte de Lautréamont, except that he was born in Montevideo, Uruguay in 1846 and died in Paris at the age of twenty-four. When first published in 1868-9, Maldoror went almost unnoticed. But in the nineties the book was rediscovered and hailed as a work of genius by such eminent writers as Huysmans, Léon Bloy, Maeterlinck, and Rémy de Gourmont. Later still, Lautréamont was to be canonized as one of their principal "ancestors" by the Paris Surrealists.This edition, translated by Guy Wernham, includes also a long introduction to a never-written, or now lost, volume of poetry. Thus, except for a few letters, it gives all the surviving literary work of Lautréamont.

    But I am reasonably certain that a sensitive reader who journeys through How It Is will leave the book convinced that Beckett says more that is relevant to experience in our time than Shakespeare does in Macbeth. It should come as no surprise if a decade or so hence How It Is is appraised as a masterpiece of modern literature. This poetic novel is Beckett at his height.” — Webster Schott“A wonderful book, written in the sparest prose. . . . Beckett is one of the rare creative minds in our times.” — Alan Pryce-Jones“What is novel is the absolute sureness of design. . . built phrase by phrase into a beautifully and tightly wrought structure — a few dozen expressions permuted with deliberate redundancy accumulate meaning even as they are emptied of it, and offer themselves as points of radiation in a strange web of utter illusion.” — Hugh Kenner

    On this occasion, their ringleader is inspired to rebellion after reading some books on philosophy and science.Anatole France's 1914 satire of war, government, and religion offers an ever-resonant protest against violence and tyranny.

    And in Pantagruel and its three sequels, Rabelais parodied tall tales of chivalry and satirized the law, theology and academia to portray the bookish son of Gargantua who becomes a Renaissance Socrates, divinely guided in his wisdom, and his idiotic, self-loving companion Panurge.

    Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    Drawing on those who surrounded her -- Jean-Paul Sartre, Albert Camus, Arthur Koestler -- and her passionate love affair with Nelson Algren, Beauvoir dissects the emotional and philosophical currents of her time. At once an engrossing drama and an intriguing political tale, The Mandarins is the emotional odyssey of a woman torn between her inner desire and her public life.The Mandarins won France's highest literary prize, the Prix Goncourt.

    The shantytown established by Marie-Sophie is menaced from without by hostile landowners and from within by the volatility of its own provisional state. Hers is a brilliant polyphonic rendering of individual stories informed by rhythmic orality and subversive humor that shape a collective experience.A joyous affirmation of literature that brings to mind Boccaccio, La Fontaine, Lewis Carroll, Montaigne, Rabelais, and Joyce, Texaco is a work of rare power and ambition, a masterpiece.

    Maxime, a rich and idle bachelor, intrudes on her independent existence and offers his love and the comforts of marriage. A provincial tour puts distance between them and enables Renée, in a moving series of letters and meditations, to resolve alone the struggle between her need to be loved, and her need to have a life and work of her own.

    The woman is no one in particular, a "she," a warm, moist body with a beating heart-the enigma of Other. Skilled in the mechanics of sex, he desires through her to penetrate a different mystery: he wants to learn love. It isn't a matter of will, she tells him. Still, he wants to learn to try . . .This beautifully wrought erotic novel is an extended haiku on the meaning of love, "perhaps a sudden lapse in the logic of the universe," and of its absence, "the malady of death." "The whole tragedy of the inability to love is in this work, thanks to Duras' unparalleled art of reinventing the most familiar words, of weighing their meaning." - Le Monde; "Deceptively simple and Racinian in its purity, condensed to the essential." - Translation Review.

    Modiano draws on his own experiences, blended with the real or invented stories of others, to present a dreamlike autobiography that is also the biography of a place. Orphaned children, mysterious parents, forgotten friends, enigmatic strangers—each appears in this three-part love song to a Paris that no longer exists. In this superb English-language translation of Afterimage, Suspended Sentences, and Flowers of Ruin, Mark Polizzotti captures not only Modiano’s distinctive narrative voice but also the matchless grace and spare beauty of his prose.   Shadowed by the dark period of the Nazi Occupation, these novellas reveal Modiano’s fascination with the lost, obscure, or mysterious: a young person’s confusion over adult behavior; the repercussions of a chance encounter; the search for a missing father; the aftershock of a fatal affair. To read Modiano’s trilogy is to enter his world of uncertainties and the almost accidental way in which people find their fates.

    His new existence is as madcap and unpredictable as his old was staid. French phenomenon Jean Echenoz's newest novel is a bitingly humorous look at the uncertainties of love at midlife, a suspenseful crime caper, and a witty, satirical foray into corruption in the international art market."--BOOK JACKET.