Austin Smith is pushing fifty, loveless and drifting, until one day he meets Julien, a much younger, married Frenchman. In the beginning, the lovers' only impediments are the comic clashes of culture, age, and temperament. Before long, however, the past begins to catch up with them. In a desperate quest to save health and happiness, they move from Venice to Key West, from Montreal in the snow to Providence in the rain. But it is amid the bleak, baking sands of the Sahara that their love is pushed to its ultimate crisis.

    Within days, she is captivated by Tamara, a Russian émigré whose arts of enchantment include lingering kisses, sudden dismissals, and savage, rapturous reunions. As long as she submits to Tamara, Hélène is permitted to stay near her: reading forbidden novels, meeting Tamara’s bohemian friends, and learning more 'refinements of depravity' than the gossiping matrons of her provincial French town could imagine existed.

    No one -- not aspiring actor Rusty Godowski, not his girlfriend, Mary-Ann Pringle, not powerful agent Letitia Van Allen -- remains untouched by Myra's quest. Her job teaching Empathy and Posture at the Academy of Drama and Modeling, owned by her uncle Buck Loner, gives her the perfect opportunity to vamp, scheme, and seduce her way into the undiscovered lives and passions of others -- while trying to keep a few secrets of her own.In the sequel, Myron, the Breckinridge saga takes an increasingly bizarre turn. Myron seems to be an inconspicuous man with a sweet wife and a Chinese catering business, and Myra, determined to become a megastar, wages an outrageous battle for hormonal supremacy over the body she shares with Myron. In a tale that combines time-travel with the ultimate Hollywood fantasy, Gore Vidal leads us through the movie-star world of the fabulous forties as Myra attempts to alter cinema history.When Myra Breckinridge first appeared in 1968, critics were delighted, baffled, and somewhat appalled by this comedy of sex change. (Readers made it the number-one best-seller.) Time magazine queried: Has literary decency fallen so low? Perhaps they should have asked, Has literature ever been so witty, so provoking, so intriguing? Thirty years later Myra has become literature's most famous transsexual. After all, this is her/his/their age.

    1962) is a lecturer at the University of Rennes II and research professor of literature and Romance studies at Duke University. She joined the Oulipo in 2000, becoming the first member to join born after the Oulipo was founded. Garréta won France's prestigious Prix Médicis in 2002, awarded each year to an author whose "fame does not yet match their talent," for her novel Pas un jour.Emma Ramadan is a graduate of Brown University and received her master's in literary translation from the American University of Paris. Her translation of Anne Parian's Monospace is forthcoming from La Presse. She is currently on a Fulbright Fellowship for literary translation in Morocco.

    Written in 1943, this book was written as an act of revenge against the woman who nearly destroyed the author's life with the celebrated philosopher, Jean Paul Sartre.

    She knows her destiny-it lies at Oxford, where she will begin a great career of public service. But this view of herself is at odds with reality; it springs from ideas she has of her idolized English father and of her blessed Italian mother, Constanza. Only when she is caught up in an intrigue that is to determine the fate of those she most loves does she begins to discover her own true nature-even as she loses the bearings of her moral compass.

    The book details the history of the penguins and is written as a critique of human nature, and is also a satire on France's political history, including the Dreyfus affair. Morals, customs and laws are satirised within the context of the fictional land of Penguinia, where the animals were baptised erroneously by the myopic Abbot Maël. The book is ultimately concerned with the perfectibility of mankind. As soon as the Penguins are transformed into humans, they begin robbing and murdering each other. By the end of the book, a thriving civilization is destroyed by terrorist bombs.

    It also dares to introduce an asthmatic middle-aged Proust into its masterfully manipulated plot and invents a series of deeply felt letters written by him to the novel's young protagonist, Vincent de l'Etoile. In the summer of 1916, the emotionally precocious Vincent, who is the same age as the century, awakens to the possibilities of both erotic and platonic love. In the course of one week-at literary salons, at the Ritz, in cork-lined rooms-Vincent launches an intense friendship with the celebrated Proust, while at his parents' house in Paris he embarks on a sensual journey with Arthur Vales, the soldier son of a family servant, on leave from the front. Unknowingly, Vincent is also beginning a passage into a manhood that will be haunted by the secret he uncovers behind the love he bears for a doomed French infantryman and a famous middle-aged Jewish writer.

    

    Le Clézio, revelation of the literary year" ran the headline of the Paris Express after last year's prizes had been awarded. The Goncourt jury was locked five to five until its president used his double vote to give the prize to the older candidate. Ten minutes later the Renaudot jury elected the candidate they thought they might lose to the other prize. Most of the literary sections ran their prize news putting the Renaudot first, in order to feature the twenty-three-year-old discovery that was rocking Paris literary circles. What is The Interrogation? Most likely a myth without distinct delineations. A very solitary young man, Adam Pollo, perhaps the first man, perhaps the last, has a very remarkable interior adventure. He concentrates and he discovers ways of being, ways of seeing. He enters into animals, into a tree.... He has no business, no distractions; he is at the complete disposal of life. All of life, that is, except the society of his own species -- and so the story ends. "This is the next phase after the 'the new novel,'" wrote the critics. Kafka they said; a direct descendant of Joyce, they said. Beckett they said. Like nothing else, they said. One hundred thousand Frenchmen bought it. They said it was strange and beautiful. Finally the real voice of the young, said the critics. "I like J. D. Salinger," said Mr. Le Clézio, and that was all he said. His remarkable first book will soon be published all over the world and much more will be said.

    Tracing many of the same themes as that earlier work, this novel is a bemused, sometimes acid portrait of people caught in private sexual hells of their own making. Its four episodes are connected by four narrators. All are called "Christopher Isherwood, " but each is a different character inhabiting a new setting: Berlin in 1928, the Greek Isles in 1933, London in 1938, and California in 1940. Down There on a Visit is a major work that shows Isherwood at the height of his literary powers.

    Michel Foucault offers an iconoclastic exploration of why we feel compelled to continually analyze and discuss sex, and of the social and mental mechanisms of power that cause us to direct the questions of what we are to what our sexuality is.

    One of Bataille’s overtly political works, it explores the ambiguity of sex as a subversive force, bringing violence, power, and death together in a terrifying unity.

    The first-person narrative is supplemented by forty-four photographs which form an integral part of the work -- pictures of various surreal people, places, and objects which the author visits or is haunted by in naja's presence and which inspire him to mediate on their reality or lack of it. The Nadja of the book is a girl, but, like Bertrand Russell's definition of electricity as not so much a thing as a way things happen, Nadja is not so much a person as the way she makes people behave. She has been described as a state of mind, a feeling about reality, k a kind of vision, and the reader sometimes wonders whether she exists at all. yet it is Nadja who gives form and structure to the novel.

    I hate money--the word and the thing itself. If I am not rich, I am yet rich enough to give to my friend, and it is my joy to give all I can for him. Would not you do the same? And if I needed it, would you not be the first to give me all your fortune? But that shall never be! I have sound fists and a sound head, and I shall always be able to earn the bread that I eat. Till Sunday!