The author of The World Is Not Enough paints a vivid tale of chivalry, passion, and ruthlessness in 13th-century France, in the dramatic story of the struggle of the Medieval man for his soul, and of ultimate self-sacrifice for spiritual goals.

    He was a man obsessed, like many great writers, and his obsessions are still present here: his hatred of all things pretentious, his loathing of a corrupt judicial system, his damning of hypocrisy and false piety. One of the great anarchists of all time, he was nevertheless far from mad (as many pretended) and these works of fiction shed another light on this most feverish of minds. But however heavy the subject, The Mystified Magistrate is infused with a light touch; it is revealing but never offensive.

    At the age of 12, Louis Daguerre fell in love with women and light on the same day. Several decades later, the founder of modern photography invented a process that ignited 19th-century Paris and secured his wealth and fame. But the years following find him delusional and ill, racked with terrible fevers. Slowly dying from repeated exposure to mercury, the very means by which he was able to capture image and light, Daguerre is now convinced the world will soon end. Fashioning a "Doomsday List" of ten photographs he must take before "The End," perhaps none is more urgent that that of Isobel Le Fournier, the object of a youthful crush, lost to Daguerre years ago.Navigating the Paris streets with his friend Charles Baudelaire and a mysterious prostitute named Pigeon, Daguerre encounters a city awash in excess, cafes charged with the talk of revolution, and a countryside blanketed by the smell of gunpowder. As the search for his doomsday subjects intensifies and his health grows more precarious, Daguerre learns, quite improbably, that he may actually have one last chance at love.In The Mercury Visions of Louis Daguerre, Smith has fashioned a novel as beguiling as it is strange; an intoxicating blend of history and imagination. (Summer 2006 Selection)

    This proved disastrous for French naval power in the region, and sparked the rise of a golden age of piracy.Tracing the lives of fabled pirates like the Chevalier de Grammont, Nikolaas Van Hoorn, Thomas Paine, and Jean Comte d'Estrées, The Lost Fleet portrays a dark age, when the outcasts of European society formed a democracy of buccaneers, settling on a string of islands off the African coast. From there, the pirates haunted the world's oceans, wreaking havoc on the settlements along the Spanish mainland and -- often enlisted by French and English governments -- sacking ships, ports, and coastal towns.More than three hundred years later, writer, explorer, and deep-sea diver Barry Clifford follows the pirates' destructive wake back to Venezuela. With the help of a lost map, drawn by the captain of the lost French fleet, Clifford locates the site of the disaster and wreckage of the once-mighty armada.

    This, the most detailed and lavishly illustrated book on the cathedral available in English, beautifully evokes the awe-inspiring monument that attracts countless visitors from around the world.

    Casual yet insightful, Duchamp reveals himself as a man and an artist whose playful principles toward living freed him to make art that was as unpredictable, complex, and surprising as life itself. Those interviews have never been edited and made public, until now. "The Afternoon Interviews," which includes an introductory interview with Tomkins reflecting on Duchamp as an artist, guide and friend, reintroduces the reader to key ideas of his artistic world and renews Duchamp as a vital model for a new generation of artists.Calvin Tomkins was born in 1925 in Orange, New Jersey. He joined the New Yorker as a staff writer in 1960. His many profiles include John Cage, Robert Rauschenberg, Merce Cunningham, Leo Castelli, Damien Hirst, Richard Serra, Bruce Nauman, Cindy Sherman and Jasper Johns. Tomkins is the author of 12 books, including "The Bride and the Bachelors" (1965), "Living Well Is the Best Revenge" (1971), "Lives of the Artists" (2008) and "Duchamp: A Biography" (1996).

    Now, in Baking Chez Moi, she explores the fascinating world of French desserts, bringing together a charmingly uncomplicated mix of contemporary recipes, including original creations based on traditional and regional specialties, and drawing on seasonal ingredients, market visits, and her travels throughout the country.Like the surprisingly easy chocolate loaf cake speckled with cubes of dark chocolate that have been melted, salted, and frozen, which she adapted from a French chef’s recipe, or the boozy, slow-roasted pineapple, a five-ingredient cinch that she got from her hairdresser, these recipes show the French knack for elegant simplicity. In fact, many are so radically easy that they defy our preconceptions: crackle-topped cream puffs, which are all the rage in Paris; custardy apple squares from Normandy; and an unbaked confection of corn flakes, dried cherries, almonds, and coconut that nearly every French woman knows. Whether it’s classic lemon-glazed madeleines, a silky caramel tart, or “Les Whoopie Pies,” Dorie puts her own creative spin on each dish, guiding us with the friendly, reassuring directions that have won her legions of ardent fans.

    Huysmans’ Stranded (En Rade 1887), published just three years after the iconoclastic Against Nature, sees him again breaking new ground and pushing back the boundaries of the novel form. Stamped throughout with his characteristic black humour, Stranded is one of Huysmans’ most innovative, most imaginative works. Jacques’ waking reveries and daydreams are balanced by a succession of dreams and nightmares that explore the seemingly irrational, often grotesque world of unconscious desire, producing a series of images that are as unforgettable and unsettling as anything to be found in the decadent fantasies of Against Nature, or the satanic obsessions of Là-bas. King has written an excellent introduction in which he relates the critical history of this unusual work and highlights the contrasts and creativity that made the era of its publication such a rich one to revisit. His translation is scrupulously accurate. Tadzio Koelb in The Times Literary Supplement

    First volume in the French Revolution series; the people wanted to see their Louis as king in his own right, bringing back glory to France and prosperity to their hearths, but Louis cared only for the thrills of hunting and gambling, the excitements of war, until even these paled before the sensual delights offered by a succession of mistresses from beautiful waiting women to the celebrated Marquise de Pompadour: the early years of Louis XV and the women who ruled him.

    Its author, Marguerite Vallette-Eymery (1860-1953), who used the pseudonym Rachilde, was a prolific novelist (over sixty works of fiction), playwright, literary critic and reviewer, and a forceful presence in French literary society of her time. The protagonist of the novel, Eliante Donalger, is in some sense an exaggerated double for her creator--bizarre in appearance, clothing, and interests. Instinctively grasping a medical and psychological truth that the turn-of-the-century scientific world was only beginning to understand, Eliante maintains that there is nothing "natural" about human sexual expression. She claims to be in love with an inanimate (though anthropomorphic and sexually ambiguous) object, a Greek amphora, and the novel traces the rivalry between this faithful partner and an ardent human suitor, a young medical student. It is only through juggling, both literally and metaphorically, that Eliante is able to use her seductive power to maintain desire. The surprise ending challenges the limits of such power in a controversial and surprising twist. Although Rachilde's work has been neglected in the past, the women's movement and feminist criticism have stimulated renewed interest in her fiction. The Juggler is a major rediscovery.

    In it the artist discusses his own paintings, his life, his sorrow and hopes; the paintings and sculptures of Rubens, Michelangelo, Constable, Bonington and others: old and new literature and the music of Mozart, Rossini and Chopin, the events of his time.This revival of a famous Phaidon series brings together in an elegant format some of the best-known writings of renowned artists, critics and interpreters of our cultural tradition. Each book, an acknowledged classic, provides insights not only into the worlds of the arts and cultural history, but also into the creative and intellectual preoccupations of its author and his time. These Phaidon editions have an introduction and notes by a distinguished editor and a wide range of illustrations specially chosen to complement the text.

    More important is the author's exploration of the political, economic, social and artistic forces that developed during the long reign of the Sun-King. It was an age of contradictions and compromises and high taxes and formal manners. And to the day he died Louis XIV ate with his fingers and acted like God. The opening account of Louis XIV's private life and loves sets the pace for this witty, provocative account of a century that, like our own, was a time of transition, dissatisfaction and progress. This was the age of Moliere, Racine, Corneille...the age of the salons and the graceful correspondents. And also an age that sent thousands of Huguenots to the galleys, the notorious death ships that served as seventeenth-century concentration camps.

     When the remnants of Napoleon's army returned over the Berezina River in November, only 27,000 effective soldiers remained. Adrien Bourgogne’s Memoirs is one of the most vivid and moving accounts of this dramatic turning point in the Napoleonic Wars. Bourgogne had been in the Napoleonic Army since the campaign of 1806 in Poland. He had taken part in the Battle of Essling, and had fought in Germany, Austria, Spain and Portugal. But none of this could prepare him for the campaign of 1812. The memoir begins with the long travel from Portugal to Moscow where the French were able to defeat the Russian armies in small battles and take the city. But this victory soon became a nightmare as supplies ran short and winter descended onto the Grande Armée. Without being able strike a decisive blow against the Russians, Napoleon was forced to retreat across the barren, snow-covered lands of western Russia. Bourgogne’s account of this agonising journey back towards France truly captures the horrific experience of the troops. As their rearguard was constantly harassed by Cossacks, the French stumbled across the landscape. Some died from hunger, others from merely sleeping on the ground and freezing to death. Bourgogne’s Memoir is an extremely personal account of this time, as he details how he and his comrades did absolutely anything to survive. These proud troops of France who had defeated every army they faced were reduced to killing their horses, stealing, pillaging and begging. But throughout they never lost faith in their leader, Napoleon. The Memoirs of Sergeant Bourgogne are essential reading for anyone interested in the Napoleonic Wars and Napoleon’s failed invasion of Russia. These memoirs were written during his months of captivity. After his life in the army he worked as a draper before re-enlisting in the army in 1830 and receiving the Legion of Honor in 1831. In 1853, Adrien Bourgogne retired and completed his memoirs entitled Memoirs of Sergeant Bourgogne, appearing in the New Retrospective Review. He died in 1867. This edition was compiled and translated by Paul Cottin in 1899. Cottin died in 1932.

    

    He covers the long avenues with their great buildings, he gets lost in the crowds of the grands magasins. Buttoned up in his black overcoat, he wanders, restless, through the city. But what is he looking for? Where is he going? The word flâneur derives from the French verb flâner, which means “to wander”, “to waste one’s time”. Being a flâneur means walking, free of all commitments, immersing oneself in the living spectacle of Paris. Flâneur teaches how to roam without an aim, to get lost in the city. It contains some stories about rovers, about people who have lost their way and who have thus discovered new and wonderful things on their route. It provides information on the personages, artists and the authors who have made the history of the aimless strolling in Paris. The reader has two possibilities: • A sequential reading, from the first to the last chapter. • A free reading that allows for the creation of a preferred route through the text. The rule of the game is simple: the chapters with odd numbers are fiction, while the chapters with even numbers are nonfiction. Flâneur is, ultimately, an exercise for the mind. It teaches how to immerse oneself in exteriority, and how to give less importance to the self and one’s own petty needs. Because in order to listen to the voice of the world, one must first of all silence the ego.