S. Naipaul, or given its upheavals such a hauntingly human face. A perfect case in point is this riveting novel, a masterful and stylishly rendered narrative of emigration, dislocation, and dread, accompanied by four supporting narratives. In the beginning it is just a car trip through Africa. Two English people--Bobby, a civil servant with a guilty appetite for African boys, and Linda, a supercilious compound wife -- are driving back to their enclave after a stay in the capital. But in between lies the landscape of an unnamed country whose squalor and ethnic bloodletting suggest Idi Amin's Uganda. And the farther Naipaul's protagonists travel into it, the more they find themselves crossing the line that separates privileged outsiders from horrified victims. Alongside this Conradian tour de force are four incisive portraits of men seeking liberation far from home. By turns funny and terrifying, sorrowful and unsparing, In A Free State is Naipaul at his best.

    The lush and sensuous series consists of Justine(1957) Balthazar(1958) Mountolive(1958) Clea(1960).Justine, Balthazar and Mountolive use varied viewpoints to relate a series of events in Alexandria before World War II. In Clea, the story continues into the years during the war. One L.G. Darley is the primary observer of the events, which include events in the lives of those he loves, and those he knows. In Justine, Darley attempts to recover from and put into perspective his recently ended affair with a woman. Balthazar reinterprets the romantic perspective he placed on the affair and its aftermath in Justine, in more philosophical and intellectual terms. Mountolive tells a story minus interpretation, and Clea reveals Darley's healing, and coming to love another woman.

    Robert Markham, an Englishman in Constantinople, is newly posted to the British legation with his imperious wife and overly curious son. Markham's hidden life is about to make itself known as he forgets familial and patriotic ties in order to absolve a deep-seated guilt. Twelve years before, he had been involved with an Armenian woman. On the evening of their engagement, the Armenian massacres erupted. Saved by his British citizenship, he witnessed the brutal rape and murder of his fiancee. Amid the breakdown of the Turkish empire, he now seeks revenge.

    At the close of the 17th century, Iceland is an oppressed Danish colony, suffering from extreme poverty, famine, and plague. A farmer and accused cord-thief named Jon Hreggvidsson makes an improper joke about the Danish king and soon after finds himself a fugitive charged with the murder of the king’s hangman.In the years that follow, the hapless but resilient rogue Hreggvidsson becomes a pawn entangled in political and personal conflicts playing out on a far grander scale. Chief among these is the star-crossed love affair between Snaefridur, known as “Iceland’s Sun,” a beautiful, headstrong young noblewoman, and Arnas Arnaeus, the king’s antiquarian, an aristocrat whose worldly manner conceals a fierce devotion to his downtrodden countrymen. As their personal struggle plays itself out on an international stage, Iceland’s Bell creates a Dickensian canvas of heroism and venality, violence and tragedy, charged with narrative enchantment on every page.

    Teeming with frank sexuality and heartfelt compassion, this book is an important window on to the experience of loss and love in the Arab world.

    It is 1975, a perfect spring in Istanbul. Kemal, scion of one of the city’s wealthiest families, is about to become engaged to Sibel, daughter of another prominent family, when he encounters Füsun, a beautiful shopgirl and a distant relation. Once the long-lost cousins violate the code of virginity, a rift begins to open between Kemal and the world of the Westernized Istanbul bourgeosie—a world, as he lovingly describes it, with opulent parties and clubs, society gossip, restaurant rituals, picnics, and mansions on the Bosphorus, infused with the melancholy of decay—until finally he breaks off his engagement to Sibel. But his resolve comes too late. For eight years Kemal will find excuses to visit another Istanbul, that of the impoverished backstreets where Füsun, her heart now hardened, lives with her parents, and where Kemal discovers the consolations of middle-class life at a dinner table in front of the television. His obsessive love will also take him to the demimonde of Istanbul film circles (where he promises to make Füsun a star), a scene of seedy bars, run-down cheap hotels, and small men with big dreams doomed to bitter failure. In his feckless pursuit, Kemal becomes a compulsive collector of objects that chronicle his lovelorn progress and his afflicted heart’s reactions: anger and impatience, remorse and humiliation, deluded hopes of recovery, and daydreams that transform Istanbul into a cityscape of signs and specters of his beloved, from whom now he can extract only meaningful glances and stolen kisses in cars, movie houses, and shadowy corners of parks. A last change to realize his dream will come to an awful end before Kemal discovers that all he finally can possess, certainly and eternally, is the museum he has created of his collection, this map of a society’s manners and mores, and of one man’s broken heart.A stirring exploration of the nature of romantic attachment and of the mysterious allure of collecting, The Museum of Innocence also plumbs the depths of an Istanbul half Western and half traditional—its emergent modernity, its vast cultural history. This is Orhan Pamuk’s greatest achievement.

    M. Coetzee’s searing novel tells the story of David Lurie, a twice divorced, 52-year-old professor of communications and Romantic Poetry at Cape Technical University. Lurie believes he has created a comfortable, if somewhat passionless, life for himself. He lives within his financial and emotional means. Though his position at the university has been reduced, he teaches his classes dutifully; and while age has diminished his attractiveness, weekly visits to a prostitute satisfy his sexual needs. He considers himself happy. However, when Lurie seduces one of his students, he sets in motion a chain of events that will shatter his complacency and leave him utterly disgraced.

    Gabriel Garcia Marquez, the renowned master of magical realism, vividly portrays the dying tyrant caught in the prison of his own dictatorship. Employing an innovative, dreamlike style, and overflowing with symbolic descriptions, the novel transports the reader to a world that is at once fanciful and vividly real.

    Here the reader is offered a glimpse of Mark Twain's sustained creative process, in what many critics consider the finest fiction of his later years. Begun in 1897 and revised first in 1902 and then 1908, the third version was the only manuscript titled The Mysterious Stranger. These texts offer a rare opportunity to observe Mark Twain's sustained literary struggle with a central theme.

    It is the 1960s, and he is eager to make a contribution to the new postcolonial life of his country. Back home, he discovers a stranger among the familiar faces of childhood—the enigmatic Mustafa Sa’eed. Mustafa takes the young man into his confidence, telling him the story of his own years in London, of his brilliant career as an economist, and of the series of fraught and deadly relationships with European women that led to a terrible public reckoning and his return to his native land.But what is the meaning of Mustafa’s shocking confession? Mustafa disappears without explanation, leaving the young man—whom he has asked to look after his wife—in an unsettled and violent no-man’s-land between Europe and Africa, tradition and innovation, holiness and defilement, and man and woman, from which no one will escape unaltered or unharmed.Season of Migration to the North is a rich and sensual work of deep honesty and incandescent lyricism. In 2001 it was selected by a panel of Arab writers and critics as the most important Arab novel of the twentieth century.

    Traveling through Italy and France, Camenzind is increasingly disillusioned by the suffering he discovers around him; after failed romances and a tragic friendship, his idealism fades into crushing hopelessness. He finds peace again only when he cares for Boppi, an invalid who renews Camenzind's love for humanity and inspires him once again to find joy in the smallest details of every life.

    His feats of strength, his passion for life, and, most importantly, his inadvertant success in bringing rain have made him a god-like figure among the tribes.

    Penguin Books published it in 1968 with reprints in 1972 and 1974. Each story in the collection, whose title refers to people burnt by society, has a reference to burning actually and in metaphor.Seven of the stories are set in Australia and four are set in Greece or concern Greek migrants. The suburb of Sarsaparilla, the setting for several stories, is like Our Town of Thornton Wilder, but with White's "beadily disapproving gaze".In White's first collection of a series of three, The Burnt Ones are haunted by feelings of isolation, intense self-examination, and an acute awareness of how they are different from others. The stories follow the theme of loneliness as do the second collection titled The Cockatoos, and Three Uneasy Pieces, his third and last collection. Dead Roses Willy-Wagtails by Moonlight A Glass of Tea Clay The Evening at Sissy Kamara's A Cheery Soul Being Kind to Titina Miss Slattery and her Demon Lover The Letters The Woman who wasn't Allowed to Keep Cats Down at the Dump

    From boy-thief to pirate, mercenary and outlaw, ultimately becoming King of Aquilonia, Conan carved a red swathe through lost cities and unexplored jungles, facing hideous horrors or supernatural menaces with nothing more than a sharp sword in his hand and a beautiful woman at his side. Collected together here in the chronological order they were first published are Robert E. Howard's definitive stories of Conan, exactly as he wrote them, as fresh, atmospheric and vibrant today as they were when they originally appeared in the pulp magazines of more than seventy years ago.

    Full of wit and disdain, he records the mounting tensions on the ancient, stinking warship where officers, sailors, soldiers and emigrants jostle in the cramped spaces below decks. Then a single passenger, the obsequious Reverend Colley, attracts the animosity of the sailors, and in the seclusion of the fo'castle something happens to bring him into a 'hell of degradation', where shame is a force deadlier than the sea itself.