He is a virtual repository of the predominant ideas and historical disasters of the age. But now he has found a story he thinks may be-come his next novel: The large brass cross that hung behind the altar of St. Timothy's, a run-down Episcopal church in lower Manhattan, has disappeared...and even more mysteriously reappeared on the roof of the Synagogue for Evolutionary Judaism, on the Upper West Side. The church's maverick rector and the young woman rabbi who leads the synagogue are trying to learn who committed this strange double act of desecration and why. Befriending them, the novelist finds that their struggles with their respective traditions are relevant to the case. Into his workbook go his taped interviews, insights, preliminary drafts...and as he joins the clerics in pursuit of the mystery, it broadens to implicate a large cast of vividly drawn characters - including scientists, war veterans, prelates, Holocaust survivors, cabinet members, theologians, New York Times reporters, filmmakers, and crooners - in what proves to be a quest for an authentic spirituality at the end of this tortured century.Daringly poised at the junction of the sacred and the profane, and filled with the sights and sounds of New York, this dazzlingly inventive masterwork emerges as the American novel readers have been thirsting for a defining document of our times, a narrative of the twentieth century written for the twenty-first.

    When plague breaks out, the villagers flee, blocking the boys inside the deserted town. Their brief attempt to build autonomous lives of self-respect, love, and tribal valor is doomed in the face of death and the adult nightmare of war.

    Their brutal punishment has been hushed up for more than two years when Mathilde Donnay, unable to walk since childhood, begins a relentless quest to find out whether her fiancé, officially "killed in the line of duty," might still be alive. Tipped off by a letter from a dying soldier, the shrewd, sardonic, and wonderfully imaginative Mathilde scours the country for information about the men. As she carries her search to its end, an elaborate web of deception and coincidence emerges, and Mathilde comes to an understanding of the horrors, and the acts of kindness, brought about by war.A runaway bestseller in France and the winner of the 1991 Prix Interallié, this astonishing novel is many things at once: an absorbing mystery, a playful study of the different ways one story can be told, a moving and incisive portrait of life in France during and after the First World War, and a love story of transforming power and beauty.

    This radiant translation by W.S. Kuniczak restores the original glory and richness of master storyteller Henryk Sienkiewicz's epic tale.Set at a turning point in history (A.D. 54-68), as Christianity replaces the era of corruption and immorality that marked Nero's Rome, Quo Vadis abounds with compelling characters, including:Vinicius, the proud centurion who has fallen deeply in love with a mysterious young woman who disappears the night they meet;Ligia, the elusive beauty. Vinicius will not easily win her love, for she is a Christian, one of the group of dedicated believers led by the apostle Peter. Christians are rare in pagan, hedonistic Rome, and suffer great persecution;Petronius, uncle to Vinicius, an elegant, witty courtier who scoffs at love and religion but finds his nephew's passion charming; andNero himself, enemy of all Christians, a despotic emperor who plunges Rome deeper and deeper into depravity. The decadence of his banquets is staggering; and even worse, his mad laughter is heard echoing in the amphitheater as gladiators duel to the death.As Nero's appalling plans for the Christians become ever clearer, time appears to be running out for the young lovers. Vinicius must come to understand the true meaning of Ligia's religion before it is too late.Grand in scope and ambition, Quo Vadis explores the themes of love, desire and profound moral courage. Lavish descriptions, vivid dialogue and brilliantly drawn characters make this one of the world's greatest epics. Beloved by children and adults the world over, Quo Vadis has been the subject of five films, two of them in English.

    These are, Kerrigan writes, "ferocious writers, truculent, badly spoken, foul mouthed." However provocative and disturbing, they are also flat-out dazzling as writers, whose sentences, as rigorous as riotous, lodge like knives in the reader's mind. Cela called himself a proponent of "uglyism," of "nothingism." But he has the knack, the critic Am�erico Castro reminds us, of deploying those "nothings and lacks" to construct beauty. The Hive is set over the course of a few days in the Madrid of 1943, not long after the end of the Spanish Civil War and when the regime of General Francisco Franco was at its most oppressive. The book includes more than three hundred characters whose comings and goings it tracks to hypnotic effect. Scabrous, scandalous, and profane, this virtuosic group portrait of a wounded and sick society was first published in Buenos Aires in 1950 because in Spain it could not be published at all. This new translation by James Womack is the first in English to present Cela's masterpiece in uncensored form"--

    With these, and a set of false papers, she has slipped out of the ghetto, passing as the wife of a Polish officer, until one day an informer spots her on the street and drags her off to the Gestapo. At times a dark lament, at others a sly and sardonic thriller, The Beautiful Mrs. Seidenman is the story of the thirty-six hours that follow Irma's arrest and the events that lead to her dramatic rescue as the last of Warsaw's Jews are about to meet their deaths in the burning ghetto.

    No one's eyes were sharper, however, than those of the visiting Spanish lecturer, invited as a guest on this occasion, and eventually the two young people were lovers, unbeknown to Clare's husband. And if the Spaniard was at pains to cover their tracks, his beloved left evidence of adultery with gay abandon - and all this in a university that was a forcing house of gossip and intrigue, a place where "at every word a reputation dies".

    They devise a shrewd bargain: they'll marry and spend a year or so sponging off their wealthy friends, honeymooning in their mansions and villas. As Susy explains, "We should really, in a way, help more than hamper each other. We both know the ropes so well; what one of us didn't see the other might - in the way of opportunities, I mean". The other part of the plan states that if either one of them meets someone who can advance them socially, they're free to dissolve the marriage. How their plan unfolds is a comedy of errors that will charm all fans of Wharton's work.

    The central character, Bimala, is torn between the duties owed to her husband, Nikhil, and the demands made on her by the radical leader, Sandip. Her attempts to resolve the irreconciliable pressures of the home and world reflect the conflict in India itself, and the tragic outcome foreshadows the unrest that accompanied Partition in 1947. This edition includes an introduction by Anita Desai.

    for they would be able to do all these things simply by changing the words ..." The power of the word is evident in Portuguese author José Saramago's novel, The History of the Siege of Lisbon. His protagonist, a proofreader named Raimundo Silva, adds a key word to a history of Portugal and thus rewrites not only the past, but also his own life. Brilliantly translated from the Portuguese by Giovanni Pontiero, The History of the Siege of Lisbon is a meditation on the differences between historiography, historical fiction, and "stories inserted into history." The novel is really two stories in one: the reimagined history of the 1147 siege of Lisbon that Raimundo feels compelled to write and the story of Raimundo's life, including his unexpected love affair with the editor, Maria Sara. In Saramago's masterful hands, the strands of this complex tale weave together to create a satisfying whole.

    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.

    Sembène Ousmane, in this vivid and moving novel, evinces all of the colour, passion and tragedy of those decisive years in the history of West Africa.'Ever since they left Thiès, the women had not stopped singing. As soon as one group allowed the refrain to die, another picked it up, and new verses were born at the hazard of chance or inspiration, one word leading to another and each finding, in its turn, its rhythm and its place. No one was very sure any longer where the song began, or if it had an ending. It rolled out over its own length, like the movement of a serpent. It was as long as a life.'

    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.

    Maximilien Aue has reinvented himself, many years after the war, as a middle-class family man and factory owner in France. An intellectual steeped in philosophy, literature, and classical music, he is also a cold-blooded assassin and the consummate bureaucrat. Through the eyes of this cultivated yet monstrous man we experience in disturbingly precise detail the horrors of the Second World War and the Nazi genocide of the Jews. Eichmann, Himmler, Göring, Speer, Heydrich, Höss—even Hitler himself—play a role in Max's story. An intense and hallucinatory historical epic, The Kindly Ones is also a morally challenging read. It holds a mirror up to humanity—and the reader cannot look away.

    Readers of J. M. Coetzee's Disgrace, Bernhard Schlink's The Reader and Kafka will be captivated by Brodeck.Forced into a brutal concentration camp during a great war, Brodeck returns to his village at the war’s end and takes up his old job of writing reports for a governmental bureau. One day a stranger comes to live in the village. His odd manner and habits arouse suspicions: His speech is formal, he takes long, solitary walks, and although he is unfailingly friendly and polite, he reveals nothing about himself. When the stranger produces drawings of the village and its inhabitants that are both unflattering and insightful, the villagers murder him. The authorities who witnessed the killing tell Brodeck to write a report that is essentially a whitewash of the incident. As Brodeck writes the official account, he sets down his version of the truth in a separate, parallel narrative. In measured, evocative prose, he weaves into the story of the stranger his own painful history and the dark secrets the villagers have fiercely kept hidden.