Written in Soviet Moscow in the 1920s—but considered too subversive even to show to a publisher—the seven tales included here attest to Sigizmund Krzhizhanovsky’s boundless imagination, black humor, and breathtaking irony: a man loses his way in the vast black waste of his own small room; the Eiffel Tower runs amok; a kind soul dreams of selling “everything you need for suicide”; an absentminded passenger boards the wrong train, winding up in a place where night is day, nightmares are the reality, and the backs of all facts have been broken; a man out looking for work comes across a line for logic but doesn’t join it as there’s no guarantee the logic will last; a sociable corpse misses his own funeral; an inventor gets a glimpse of the far-from-radiant communist future.

    Translated by Susan Brownsberger.

    Fully illustrated, this book includes an Indian song-and-dance version of Dracula; Turkish version of Star Trek and Superman; China's "hopping vampire" films, and much more.

    This important book--shot through with reflections on, explorations of, and hymns to both our natural and spiritual realms--features the three poetry collections Charles Wright published during the 1980s: The Southern Cross (1981), The Other Side of the River (1984), and Zone Journals (1988).

    Bromgard has come to a small country town to assume a new practice. No sooner has he arrived than he receives word that a colleague, Dr. Polyakov, has fallen gravely ill. Before Bromgard can go to his friend's aid, Polyakov is brought to his practice in the middle of the night with a self-inflicted gunshot wound, and, barely conscious, gives Bromgard his journal before dying. What Bromgard uncovers in the entries is Polyakov's uncontrollable and merciless descent into morphine addiction -- his first injection to ease his back pain, the thrill of the drug as it overtakes him, the looming signs of addiction, and the feverish final entries before his death.

    Amazing in its thematic range and stylistic breadth, his poetry "leaps continents and covers war and peace, intolerance and human striving . . . a passionate and essential edition of his collected poems" ( The New York Times).

    For, on the privileged island community where Forgetting Elena takes place, manners are everything. Or so it seems to White's excruciatingly self-conscious young narrator who desperately wants to be accepted in this world where everything from one's bathroom habits to the composition of "spontaneous" poetry is subject to rigid conventions.

    Set far from Moscow in the remote Kazakhstan capital of Alma-Ata, The Keeper of Antiquities begins with a leisurely, almost scholarly air - like a devious story by Borges. But very soon we find ourselves watching with horror as professional rivalry between the keeper of the town's museum and the chief librarian turns into a deadly struggle for control over the meaning of the past - and therefore over the present.While Dombrovsky does not have the wit, the suave cynicism of Bulgakov, he is-or was-immensely drawn to the tragi-comic potential of the bureaucratic flap, endemically Russian. Water boils drearily for tea in noisily peopled conferences; lank-jawed, heavily smoking females whine and bark in outrage; minor officials threaten and soothe; mass grievances are unburdened. The narrator is an open-hearted, straightforward young man with the title of Keeper of Antiquities in the archaeological section of a museum in rural Soviet Central Asia. The Keeper is moderately happy in his eyrie of catalogues and modest displays, sharing varieties of pickling alcohol with an earthy old carpenter and enjoying a secret hoard of carnival views of ""Beauties of the World"" in their natural state. His aim is to go quietly on his way ""without interfering with anybody."" But ""Your business is history"" to prove and demonstrate, and there is no escape. An attempt to improve the local library by a critical comment; the friendship with a collective brigade leader whose brother was shot (unjustly?) as a traitor; the defense of a young archaeologist fired by the library-all forbode disaster. The keeper of pristine truths unsullied by expedient exploitation thinks of flight, but in the end simply waits for the closing in of ""history,"" party style. A spirited, often anguished, indictment of mindless officialdom wherever it appears.

    Her stories portray a young Irish girl's view of obsessive love and its often wrenching pain, while tales of contemporary life show women who open themselves to sexuality, to disappointment, to madness. Throughout, there is always O'Brien's voice—wondrous, despairing, moving—examining passionate subjects that lay bare the desire and needs that can be hidden in a woman's heart.

    With passion and precision, Michael Thelwell recounts Rhygin’s journey from a morally coherent rural universe to the teeming, predatory slums of Kingston, his rebellion against the poverty and corruption of postcolonial Jamaica, his blazing, simultaneous rise to the top of the charts and the Most Wanted list.

    Andrei is a model Soviet citizen, a swaggeringly self-satisfied mogul of the food industry who intends to revolutionize modern life with mass-produced sausage. Nikolai is a loser. Finding him drunk in the gutter, Andrei gives him a bed for the night and a job as a gofer. Nikolai takes what he can, but that doesn't mean he's grateful. Griping, sulking, grovelingly abject, he despises everything Andrei believes in, even if he envies him his every breath.Producer and sponger, insider and outcast, master and man fight back and forth in the pages of Olesha's anarchic comedy. It is a contest of wills in which nothing is sure except the incorrigible human heart.Marian Schwartz's new English translation of Envy brilliantly captures the energy of Olesha's masterpiece.A NEW YORK REVIEW BOOKS ORIGINAL

    

    Whether writing about lovers, parents and children, or married couples, Gordimer maps out the terrain of human relationships with razor-sharp psychological insight and a stunning lack of sentimentality. The selection, which spans the course of Gordimer's career to date, presents the range of her storytelling abilities and her brilliant insight into human nature. From such epics as "Friday's Footprint" and "Something Out There" to her shorter, more experimental stories, Gordimer's work is unfailingly nuanced and complex. Time and again, it forces us to examine how our stated intentions come into conflict with our unspoken desires.This definitive volume, which includes four new stories from the Nobel laureate, is a testament to the power, force, and ongoing relevance of Gordimer's vision.

    The Woman of the Pharisees--one of Mauriac's most accomplished novels--is a penetrating evocation of the moral and religious values of a Bordeaux community. In Brigitte, we see how the ideals of love and companionship are stifled in the presence of a self-righteous woman whose austere religious principals lead her to interfere--disastrously--in the lives of others. One by one the unwitting victims fall prey to the bleakness of her "perfection." A conscientious schoolteacher, a saintly priest, her husband and stepdaughter and an innocent schoolboy are all confronted with tragedy and upheaval. But the author's extraordinary gift for psychological insight goes on to show how redeeming features inevitably surface from disaster. The unfolding drama is seen through the discerning eye of a young Louis--Brigitte's stepson--whose point of view is skillfully blended into the mature and understanding adult he later becomes.

    Judith Wright's "Collected Poems" is comprised of her work from 1942 to 1985, and includes her latest three books of poetry, "Alive", "Fourth Quarter" and "Phantom Dwelling". It is a fitting tribute to an outstanding poet. Whether she is read for her rich evocation of the Australian land, for the truth, sensitivity and profundity of her meditations on the great themes of love, death and eternity, or for the beauty of her lyric style, Judith Wright is always supremely rewarding.