The author provides a comprehensive tour of otherworldly journeys common from immemorial times among shamans, magicians, and witches, and illustrates their connection with such modern phenomena as altered states of consciousness, out-of-body experiences, and near-death experiences.

    More than three thousand years after this prophecy was made, the Abbey is the only religious entity still standing. Radoslav, the Abbot who rules the Augustinian Order, knows that the Armageddon is about to break out soon but he can't decide what will trigger it. It might be the first contact with an extraterrestrial civilization; it is possible that the attempt of imperial administration to replace the clones from the Agricultural Worlds with aliens will degenerate into a cosmic conflict; and the super-soldier sent to spy on the Abbey is also a great worry. As this fascinating, complex plot develops, it becomes clear that the final fight is not between good and evil, but between those who believe in God and those who decline Him. The Abbey offers a unique perspective on how religion could develop and evolve in a far-away future. Is humanity's real purpose to protect God from reaching His own limits? The author offers daring hypotheses and original thinking in this multi-layered fantasy filled with spirituality and insight.

    As he dies, his kingdom also dies. His armies suffer defeat, the young emigrate, the seasons change overnight, and his kingdom’s borders shrink to the outline of his throne. At last, as the curtain falls, the king himself dissolves into a gray mist.

    It demonstrates a commitment to surrealistic aesthetics, and has a clear lack of an obvious plot, minimal development of character, variations of time sequence, and experiments with vocabulary and punctuation.

    It is a country that presents many paradoxes. In this book the preeminent Romanian historian Lucian Boia examines his native land's development from the Middle Ages to modern times, delineating its culture, history, language, politics and ethnic identity. Boia introduces us to the heroes and myths of Romanian history, and provides an enlightening account of the history of Romanian Communism. He shows how modernization and the influence of the West have divided the nation - town versus country, nationalists versus pro-European factions, the elite versus the masses - and argues that Romania today is in chronic difficulty as it tries to fix its identity and envision a future for itself.The book concludes with a tour of Bucharest, whose houses, streets and public monuments embody Romania's traditional values and contemporary contradictions.

    

    While the guests are brutally murdered by an inhuman enemy, the hero discovers in terror the target may be his love interest, the beautiful Adrianna de Valois, young daughter of the dark chief of Police. Panicked and desperate, Arthur is forced to make an ellusive pact with the most powerful survivers: the viscount of Vincennes, his friend, also a logician an intrigue expert; the beautiful and imoral italian countess Giulianna Sellini, a supposed poisoner and a necromancer; Huguet de Castlenove, an ex-priest, now a dangerous killer and swordsman manipulated by his mysterious lover; the handsome, cruel and violent master of the land, Duke of Chalais; and many other, including the man who is feared by them all - Albert de Guy, from the Holy Inquisition.But who is the mysterious assaillant? A vampire? A werewolf? A serial killer? A mad incubus? Or... maybe all of them?Violence, savagery, beauty, love and passion, logic and mystery - an inquiry in the dark.

    One night in 1987, Wieder was brutally murdered in his home and the case was never solved.Peter Katz is hell-bent on getting to the bottom of what happened that night twenty-five years ago and is convinced the full manuscript will reveal who committed the violent crime. But other people’s recollections are dangerous weapons to play with, and this might be one memory that is best kept buried.

    War is imminent in central Europe, but the company of a special tomcat, a guardian angel of sorts, helps him to overcome all dangers. In Bucharest, Joseph will meet and fall in love with an attractive nanny, while the prince distances himself from the dentist, seeking to erase all stains from his past, particularly his involvement with a beautiful blind prostitute. But unbeknownst to him, she has given birth to a baby boy with a suspiciously aristocratic nose .  Nations are invented and dissolved overnight, kingdoms are for sale, Bucharest grows from a muddy pigsty into an elegant capital city, and love turns everything upside down inThe Days of the King.

    Leo would spend the next five years in a coke processing plant, shoveling coal, lugging bricks, mixing mortar, and battling the relentless calculus of hunger that governed the labor colony: one shovel load of coal is worth one gram of bread.In her new novel, Nobel laureate Herta Müller calls upon her unique combination of poetic intensity and dispassionate precision to conjure the distorted world of the labor camp in all its physical and moral absurdity. She has given Leo the language to express the inexpressible, as hunger sharpens his senses into an acuity that is both hallucinatory and profound. In scene after disorienting scene, the most ordinary objects accrue tender poignancy as they acquire new purpose—a gramophone box serves as a suitcase, a handkerchief becomes a talisman, an enormous piece of casing pipe functions as a lovers' trysting place. The heart is reduced to a pump, the breath mechanized to the rhythm of a swinging shovel, and coal, sand, and snow have a will of their own. Hunger becomes an insatiable angel who haunts the camp day and night, but also a bare-knuckled sparring partner, delivering blows that keep Leo feeling the rawest connection to life.Müller has distilled Leo's struggle into words of breathtaking intensity that take us on a journey far beyond the Gulag and into the depths of one man's soul.

    This translation of his 1989 novel Nostalgia, writes Andrei Codrescu, "introduces to English a writer who has always had a place reserved for him in a constellation that includes the Brothers Grimm, Franz Kafka, Jorge Luis Borges, Bruno Schulz, Julio Cortazar, Gabriel Garcia Marquez, Milan Kundera, and Milorad Pavic, to mention just a few." Like most of his literary contemporaries of the avant-garde Eighties Generation, his major work has been translated into several European languages, with the notable exception, until now, of English.Readers opening the pages of Nostalgia should brace themselves for a verbal tidal wave of the imagination that will wash away previous ideas of what a novel is or ought to be. Although each of its five chapters is separate and stands alone, a thematic, even mesmeric harmony finds itself in children's games, the music of the spheres, humankind's primordial myth-making, the origins of the universe, and in the dilapidated tenement blocks of an apocalyptic Bucharest during the years of communist dictatorship.

    In all his writing, Cioran cuts to the heart of the human experience.

    This sequence of events occurs and recurs in remarkably different variations in Vain Art of the Fugue.In one version, the bus driver ignores the traffic signals and is killed in the ensuing crash. In another, the protagonist is thrown off the bus, and as he chases after it, a crowd of strangers joins him in the pursuit.As the book unfolds, the protagonist, his lovers, and the people he meets become increasingly vivid and complex figures in the crowded Bucharest cityscape. Themes, conflicts, and characters interweave and overlap, creating a book that is at once chaotic and perfectly composed.“As you can see, madam, words are getting staler and staler… idiots have used them like so many wheelbarrows… loaded them up with all kinds of idiotic confessions, with all these ideas, each more stupid than the last… in short, with what people call messages.”

    In his world, angels and mysterious forces converse with the everyday and earthbound while love and a quest for truth remain central. His startling images cut deep and his grappling—making bold leaps—is full of humor. His poems seduce the reader away from the human.Nichita Stanescu(1933-1983) towers above post-World War II Romanian poetry. His poems are written in clear language while posing profound metaphysical questions. He was born in Ploiesti in 1933 and died in 1983 in Bucharest. He is one of the most acclaimed contemporary Romanian language poets, winner of the Herder Prize and nominated for the Nobel Prize.

    “I must create a myth,” he jotted in his diary, “and become its hero—that’s my idea! . . . [A] Judeo-German metaphysician, descended as if from the XVIIIth century (or that’s how he likes to think of himself) [who talks] about responsibility, about a dialogue of purity with God, about perplexity facing the void.” In the following years, Zacharias Lichter— madman, fool, philosopher, and the weirdest of rebels without a cause—would come to life in Calinescu’s fictional account of his life and opinions, a book written for his private amusement since he assumed the censors would never permit its publication. He was wrong about that, however. The censors were completely oblivious to the subversive humor and intent of his book, which became a cult classic.