His stunning novel reveals the making of doctors--what makes them tick, scheme, hurt . . . and love. From the crucible of med school's merciless training through the demanding hours of internship and residency to the triumphs--and sometimes tragedies--beyond, "Doctors" brings to vivid life the men and women who seek to heal but who must first walk through fire. At the novel's heart is the unforgettable relationship of Barney Livingston and Laura Castellano, childhood friends who separately find unsettling celebrity and unsatisfying love--until their friendship ripens into passion. Yet even their devotion to each other, even their medical gifts may not be enough to save the one life they treasure above all others. "Doctors" --heartbreaking, witty, inspiring, and utterly, grippingly real--is a vibrant portrait that culminates in a murder, a trial . . . and a miracle."A superior story . . . A moving and compelling novel of doctors and their fears--how they confront them or are confounded by them."-- "UPI.""Segal's best work to date."-- "New York Post"

    He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster." Thus begins Vladimir Nabokov's Laughter in the Dark; this, the author tells us, is the whole story except that he starts from here, with his characteristic dazzling skill and irony, and brilliantly turns a fable into a chilling, original novel of folly and destruction. Amidst a Weimar-era milieu of silent film stars, artists, and aspirants, Nabokov creates a merciless masterwork as Albinus, an aging critic, falls prey to his own desires, to his teenage mistress, and to Axel Rex, the scheming rival for her affections who finds his greatest joy in the downfall of others. Published first in Russian as Kamera Obskura in 1932, this book appeared in Nabokov's own English translation six years later. This New Directions edition, based on the text as Nabokov revised it in 1960, features a new introduction by Booker Prize-winner John Banville.

    "Possesses the suspense and chilling impact of Lord of the Flies." Washington Post Book World.

    Retreating into the past, she finds herself reliving one particular hot summer in Nagasaki, when she and her friends struggled to rebuild their lives after the war. But then as she recalls her strange friendship with Sachiko - a wealthy woman reduced to vagrancy - the memories take on a disturbing cast.

    Riveting, compulsively readable, and ferociously sexual, Endless Love tells the story of David Axelrod and his overwhelming love for Jade Butterfield. David's and Jade's lives are consumed with each other; their rapport, their desire, their sexuality take them further than they understand. And when Jade's father suddenly banishes David from the house, he fantasizes the forgiveness his rescue of the family will bring and he sets a "perfectly safe" fire to their house. What unfolds is a nightmare, a dark world in which David's love is a crime and a disease, a world of anonymous phone calls, crazy letters, and new fears — and the inevitable and punishing pursuit of the one thing that remains most real to him: his endless love for Jade and her family.

    Gordon Comstock has declared war on the money god; and Gordon is losing the war. Nearly 30 and "rather moth-eaten already," a poet whose one small book of verse has fallen "flatter than any pancake," Gordon has given up a "good" job and gone to work in a bookshop at half his former salary. Always broke, but too proud to accept charity, he rarely sees his few friends and cannot get the virginal Rosemary to bed because (or so he believes), "If you have no money ... women won't love you." On the windowsill of Gordon's shabby rooming-house room is a sickly but unkillable aspidistra--a plant he abhors as the banner of the sort of "mingy, lower-middle-class decency" he is fleeing in his downward flight.In Keep the Aspidistra Flying, George Orwell has created a darkly compassionate satire to which anyone who has ever been oppressed by the lack of brass, or by the need to make it, will all too easily relate. He etches the ugly insanity of what Gordon calls "the money-world" in unflinching detail, but the satire has a second edge, too, and Gordon himself is scarcely heroic. In the course of his misadventures, we become grindingly aware that his radical solution to the problem of the money-world is no solution at all--that in his desperate reaction against a monstrous system, he has become something of a monster himself. Orwell keeps both of his edges sharp to the very end--a "happy" ending that poses tough questions about just how happy it really is. That the book itself is not sour, but constantly fresh and frequently funny, is the result of Orwell's steady, unsentimental attention to the telling detail; his dry, quiet humor; his fascination with both the follies and the excellences of his characters; and his courageous refusal to embrace the comforts of any easy answer.

    It is here that she meets two streetwise girls, Kasia and Eva, who--each in her own way--begin to teach her the secrets of life. Marysia's drab life suddenly gains color, as she discovers not only the ostensible ways of the world, but also the subtler experiences of love, sex, desire, passion, and--finally, in the novel's breathtaking conclusion--betrayal. Combining elements of straightforward contemporary fiction, the metaphysical, fairytales, and the epic, richly layered styles of Dostoevsky, Flaubert, and Mann (to whom many international critics have compared him), Tomek Tryzna has made an astonishing literary debut.

    As the book cinematically moves from one character's perspective to another, events and characters move toward the convergence of the wedding--and a haunting dance of love and death.

    Outside the Smolny Institute for Noble Young Ladies, an English governess is waiting for her young charge to be released from school. But so are the Tsar’s secret police… Beautiful and headstrong, Sashenka Zeitlin is just sixteen. As her mother parties with Rasputin and her dissolute friends, Sashenka slips into the frozen night to play her part in a dangerous game of conspiracy and seduction. Twenty years on, Sashenka has a powerful husband with whom she has two children. Around her people are disappearing, but her own family is safe. But she's about to embark on a forbidden love affair which will have devastating consequences. Sashenka's story lies hidden for half a century, until a young historian goes deep into Stalin's private archives and uncovers a heart-breaking tale of passion and betrayal, savage cruelty and unexpected heroism - and one woman forced to make an unbearable choice.

    Her fears are confirmed when a youth fires a gun at the administrator, but that isn't the only shooting!

    It is. For behind the town's idyllic facade lies a terrible secret—a secret so shattering that no one who encounters it will ever be the same.At once a masterpiece of psychological suspense and a savage commentary on a media-driven society that values the pursuit of youth and beauty at all costs, The Stepford Wives is a novel so frightening in its final implications that the title itself has earned a place in the American lexicon.

    Afraid that Mary Pomfret and Philip Weatherby are destined for the working-class, Jane and John attempt to stall the development of the wedding plans by having endless conversations about, well, nothing. This gives Jane--a shrewd, resourceful widow--the opportunity to embark on a scheme to lure John away from his current love interest. As the plot advances through discussions filled with misdirections and omissions, Green demonstrates that there is nothing like the spoken word to conceal one's true intentions. One of Green's final novels, Nothing is a worthy addition to the varied tradition of English literature that includes Virginia Woolf and Evelyn Waugh.

    Jessica will break their hearts. Leonie will fall in love with the wrong man. Mary Jo will escape to New York. And wild child Mathy's fate will be the family's greatest tragedy. Over the decades they will love, deceive, comfort, forgive—and, ultimately, they will come to cherish all the more fiercely the bonds of love that hold the family together.

    He is obsessed with a beautiful stranger, the art student Miranda. When he wins the pools he buys a remote Sussex house and calmly abducts Miranda, believing she will grow to love him in time.

    Like The Recruiting Officer, the play is set in a provincial town and its plot is slight:Aimwell and Archer, two impecunious London gentlemen, arrive in Lichfield looking for an heiress to marry. Aimwell, posing as his elder brother, falls in love with his 'prey' Dorinda and confesses his imposture to her; his 'man-servant' Archer arouses the wistful interest of the unhappily married Mrs Sullen. The introduction to this edition discusses the play for its theatrical merits and argues that it dramatises the ills of marriage in early modern England, shown by Farquhar to be more injurious to the wife than to the husband, and calls for a reform of the divorce laws.