The young girl is strangely drawn to this drunken ruin of a man, who exploits her and drives the family to poverty. But when she is rescued by an aristocratic family, the abuse against Netochka's delicate psyche continues in a more subtle way, condemning her to remain an outsider - a solitary spectator of a glittering society. Conceived as part of a novel on a grand scale, Netochka Nezvanova remained incomplete after Dostoyevsky was exiled to Siberia for 'revolutionary activities' in 1849. With its depiction of the suffering, loneliness, madness and sin that affect both rich and poor in St Petersburg, it contains the great themes that were to dominate his later novels.

    Written in the fifth century BC, this play concerns the predicament of the outcast hero, Philoctetes, whom the Greeks marooned on the island of Lemnos and forgot about until the closing stages of the Siege of Troy. Abandoned because of a wounded foot, Philoctetes nevertheless possesses an invincible bow without which the Greeks cannot win the Trojan War. They are forced to return to Lemnos and seek out Philoctetes' support in a drama that explores the conflict between personal integrity and political expediency.Heaney's version of Philoctetes is a fast-paced, brilliant work ideally suited to the stage. Heaney holds on to the majesty of the Greek original, but manages to give his verse the flavor of Irish speech and context.

    It became his first major success, and a hallmark of Russian social realism. The play depicts a group of impoverished Russians living in a shelter near the Volga.When it first appeared, The Lower Depths was criticized for its pessimism and ambiguous ethical message. The presentation of the lower classes was viewed as overly dark and unredemptive, and Gorky was clearly more interested in creating memorable characters than in advancing a formal plot. However, in this respect, the play is generally regarded as a masterwork.The theme of harsh truth versus the comforting lie pervades the play from start to finish, as most of the characters choose to deceive themselves over the bleak reality of their condition.

    From the time he was a young man, he frequented the antiquarian bookshops of Paris in search of lost, forgotten treasures. The ultimate prize? Anything from the hands of Marcel Proust. Guérin identified with Proust more deeply than with any other writer, and when illness brought him by chance under the care of Marcel's brother, Dr. Robert Proust, he saw it as a remarkable opportunity. Shamed by Marcel's extravagant writings, embarrassed by his homosexuality, and offended by his disregard for bourgeois respectability, his family had begun to deliberately destroy and sell their inheritance of his notebooks, letters, manuscripts, furni-ture, and personal effects. Horrified by the destruction, and consumed with desire, Guérin ingratiated himself with Marcel's heirs, placating them with cash and kindness in exchange for the writer's priceless, rare material remains. After years of relentless persuasion, Guérin was at last rewarded with a highly personal prize, one he had never dreamed of possessing, a relic he treasured to the end of his long life: Proust's overcoat. Proust's Overcoat introduces a cast of intriguing and unforgettable characters, each inspired and tormented by Marcel, his writing, and his orphaned objects. Together they reveal a curious and compelling tale of lost and found, of common things and uncommon desires.

    Along with that song, every one of these singles helped reshape the culture’s style, language, and performance. This is the story of how music and the world change, how bands reach a peak and dominate the scene briefly before fading away, and about the undeniable power of certain songs (Nirvana’s “Smells Like Teen Spirit,” for example). Here are punk and grunge, disco and rock, funk and electronica, rap and hip-hop. Every incisive, illuminating, and outspokenessay defies the accepted view of music journalism. From Elvis Costello’s “Alison” and The Bee Gees’ “Stayin’ Alive” to Bjork’s “Hyperballad” and Missy Elliot’s “The Rain”, it’s a truly provocative read.

    Flaubert was inspired to turn Emma Bovary into “a knight in skirts.” Freud studied Quixote’s psyche. Mark Twain was fascinated by it, as were Kafka, Picasso, Nabokov, Borges, and Orson Welles. The novel has spawned ballets and operas, poems and plays, movies and video games, and even shapes the identities of entire nations. Spain uses it as a sort of constitution and travel guide; and the Americas were conquered, then sought their independence, with the knight as a role model.In Quixote, Ilan Stavans, one of today’s preeminent cultural commentators, explores these many manifestations. Training his eye on the tumultuous struggle between logic and dreams, he reveals the ways in which a work of literature is a living thing that influences and is influenced by the world around it.

    2-in1 Omnibus edition.

    His love for these authors is the touchstone of Written Lives. Collected here are twenty pieces recounting great writers' lives, "or, more precisely, snippets of writers' lives." Thomas Mann, Rilke, Arthur Conan Doyle, Turgenev, Djuna Barnes, Emily Brontë, Malcolm Lowry, and Kipling appear ("all fairly disastrous individuals"), and "almost nothing" in his stories is invented.Like Isak Dinesen (who "claimed to have poor sight, yet could spot a four-leaf clover in a field from a remarkable distance away"), Marías has a sharp eye. Nabokov is here, making "the highly improbable assertion that he is 'as American as April in Arizona,'" as is Oscar Wilde, who, in debt on his deathbed, ordered up champagne, "remarking cheerfully, 'I am dying beyond my means.'" Faulkner, we find, when fired from his post office job, explained that he was not prepared "to be beholden to any son-of-a-bitch who had two cents to buy a stamp." Affection glows in the pages of Written Lives, evidence, as Marías remarks, that "although I have enjoyed writing all my books, this was the one with which I had the most fun."

    Part allegory, part tall tale, and with a good measure of old frontier humor, Journeyman, tells of a stranger, as devilish as he is divine, who mysteriously arrives in Rocky Comfort, Georgia, and, inside of a week, nearly tears the small community apart. Helping Rocky Comfort's citizens to rationalize their vices and weaknesses, Semon Dye then uses their flaws to his own advantage. Offering no forgiveness for their actions and no justification for his own, he confronts the people of Rocky Comfort with their own sins as he gambles, drinks, carouses, and fights along with them.Culminating in a tumultuous, ecstatic revival, Journeyman is filled with insights into human nature and the physical and emotional components of religious fervor. This volume reprints the complete text of Journeyman as it was first published, before the more widely circulated edition, expurgated in the aftermath of the legal battles waged against God's Little Acre, was released.

    In a series of lectures, Czapski described the arc and import of Proust’s masterpiece, sketched major and minor characters in striking detail, and movingly evoked the work’s originality, depth, and beauty. Eric Karpeles has translated this brilliant and ­altogether unparalleled feat of the critical imagination into English for the first time, and in a thoughtful introduction he brings out how, in reckoning with Proust’s great meditation on memory, Czapski helped his fellow officers to remember that there was a world apart from the world of the camp. Proust had staked the art of the novelist against the losses of a lifetime and the imminence of death. Recalling that triumphant wager, unfolding, like Sheherazade, the intricacies of Proust’s world night after night, Czapski showed to men at the end of their tether that the past remained present and there was a future in which to hope.Includes an 8-page color insert of Czapski’s lecture notes.

    The celebrated author explores new ways to view ourselves and the society we live in, and gives us fresh answers to such enduring questions as how to think for ourselves and understand what we know.

    It is possibly Lorca's harshest play, following a woman's Herculean struggle against the curse of infertility. The woman's barrenness becomes a metaphor for her marriage in a traditional society that denies women sexual or social equality. Her desperate desire for a child drives her to commit a terrible crime at the end of the play.This Student Edition comes complete with a full introduction; plot synopsis; commentary on characters, context and themes; bibliography; chronology; and questions for study.

    Now available in a smaller, more convenient format, the astonishingly in-depth and widely praised Oxford History of the Classical World offers the general reader the definitive companion to the Graeco-Roman world.The first volume, Classical Greece and the Hellenistic World, covers the period from the eighth to the first centuries B.C., a period unparalleled in history for its brilliance in literature, philosophy, and the visual arts. It also treats the Hellenization of the Middle East by the monarchies established in the area conquested by Alexander the Great. The second volume, Classical Rome, covers early Rome and Italy, the expansion of the Roman republic, the foundation of the Roman Empire by Augustus, its consolidation in the first two centuries A.D., and the later Empire and its influence on Western civilization. The editors, John Boardman, Jasper Griffen, and Oswyn Murray—all eminent classicists—intersperse chapters on political and social history with sections on literature, philosophy, and the arts, and reinforce the historical framework with maps and historical charts. The two volumes also offer bibliographies and a full index, as well as black and white photographs integrated into the text. The contributors—thirty of the world's leading scholars—present the latest in modern scholarship through masterpieces of wit, brevity, and style. While concentrating on the aspects essential to the understanding of each period, they also focus on those elements of the classical world that remain of lasting importance and interest to readers today. Together, these volumes provide both a provocative and entertaining window into our classical heritage.

    Over the years these authoritative, critically acclaimed editions have been the preferred choice of more than three million readers for personal libraries and individual study as well as for classroom use.

    The social function of the creative personality is a recurrent theme with Henry Miller, and this book is perhaps his most poignant and concentrated analysis of the artist's dilemma.