His father, a brilliant mathematician, hasn’t played a large part in his life since divorcing Antonio’s mother but when Antonio is diagnosed with epilepsy, they travel to Marseille to visit a doctor who may hold the hope for an effective treatment. It is there, in a foreign city, under strained circumstances, that they will get to know each other and connect for the first time.A beautiful, gritty, and charming port city where French old-world charm meets modern bohemia, father and son stroll the streets sharing strained small talk. But as the hours pass and day gives way to night, the two find themselves caught in a series of caffeine-imbued adventures involving unexpected people (and unforeseen trysts) that connect father and son for the first time. As the two discuss poetry, family, sex, math, death, and dreams, their experience becomes a mesmerizing 48-hour microcosm of a lifetime relationship. Both learn much about illusions and regret, about talent and redemption, and, most of all, about love. Elegant, warm, and tender, set against the vivid backdrop of 1980s Marseille and its beautiful calanques—a series of cliffs and bays on the city’s outskirts—Three O’Clock in the Morning is a bewitching coming-of-age story imbued with nostalgia and a revelatory exploration of time and fate, youth and adulthood.

    Trotsky wrote, `Certainly Blok is not one of us, but he came towards us. And that is what broke him.' Pasternak said, `He is as free as the wind.'

    Auden might well have penned a poem entitled "Tell me the Truth About Publishing", for the publication of this special, short collection was directly inspired by the runaway success of the 1994 film Four Weddings and a Funeral in which one of Auden's poems was recited. Stretching from October 1932 to June 1948, the poems may have been more revelatory had they been arranged chronologically but commercial demands have placed "Funeral Blues", forevermore known as the poem in the movie, at the end, while "Lullaby", arguably a better poem, is tucked away inside. The period partly coincides with Auden going to America in January 1939 and "Calypso" pulses with the rhythm of a train taking him to his New York rendez-vous at Grand Central. "For there in the middle of that waiting-hall, / Should be standing the one that I love best of all." Many of the poems have the same jolly air and belting rhythm and indeed were written as cabaret songs. "At Last the Secret is Out" must have been tongue-in-cheek considering Auden's sexuality, yet the cover of this slim tome is resolutely heterosexual. But for dipping into Auden's work, this volume serves its purpose. "Funeral Blues" captures the sense of disbelief that the world has the audacity to continue after one has been bereaved. The Cole Porter tone of flippancy and humour--"Put crepe bows round the white necks of the public doves", makes the understated grief all the more poignant. He declares the emblems of romance redundant. "The stars are not wanted now; put out every one." He swings from the grandiose to the mundane and in doing so, sweeps the reader up in the aura of all-emcompassing love. "He was my North, my South, my East and West, / My working week and my Sunday rest.""Lullaby" retains immense mystery and power. Here he evokes the preciousness of one night spent with someone who isn't his. "Let the living creature lie, / Mortal, guilty, but to me, / The entirely beautiful." It leaves much unexplained, yet quite particular, so that it draws one back again and again: "Lay your sleeping head, my love, / Human on my faithless arm..." What an astonishing opener. --Cherry Smyth

    A poem in five books, of circular narrative design, titled with the Greek name for Homer, which simultaneously charts two currents of history: the visible history charted in events—the tribal losses of the American Indian, the tragedy of African enslavement—and the interior, unwritten epic fashioned from the suffering of the individual in exile.

    The final days of the Fascist Republic. World War II is nearing it's frantic conclusion. The regime's days are numbered, it's disgraced leaders know it, and their quibbling over pieces of the post-war pie is getting more desperate by the minute. Commissario De Luca has been handed a murder investigation that will draw him into the private lives of the rich, priviledged, and powerful. With Mussolini's house of cards ready to collapse, he faces a world mired in sadistic sex, dirty money, drugs, and murder.Carte Blanche, the first installment in Carlo Lucarelli's De Luca Trilogy, is more than a first-rate crime story. It is also an investigation into the workings of justice in a state that is crumbling under the weight of profound historic change. The De Luca Trilogy is set during one of modern history's seminal moments and describes a nation's ardent search to rediscover its moral bearings after being torn in two by civil strife and political corruption. Threatened by the machinations of a decaying political class, De Luca, himself reminiscent of the disenchanted Dashiell Hammett PI, is a simple man doing a tough job as best he can. Even when he has wrapped up his investigation, Commissario De Luca will still have to face one final, fateful decision.

    The story of a lost dog, and the discovery of first love on the streets of Jerusalem are portrayed here with a gritty realism that is as fresh as it is compelling.When awkward and painfully shy sixteen-year-old Assaf is asked to find the owner of a stray yellow lab, he begins a quest that will bring him into contact with street kids and criminals, and a talented young singer, Tamar, engaged on her own mission: to rescue a teenage drug addict.A runaway bestseller in Israel, in the words of the Christian Science Monitor: "It's time for Americans to fall in love with Someone to Run With."

    Its success had gone far beyond Italy, as the book has been translated into Spanish, French, Japanese and three other languages. This epic historical novel about World War II and after, written from the author's own personal experiences as an Italian Freedom Fighter, is a profoundly moving account of the war, those who fought in it on both sides, and the effects the war had on families in the author's hometown in Italy. On a wider scale, it is a faithful witness to the actual events of the war - including the role of historical personages who appear, the Russian campaign, the Nazi barbarism, the Communist gulag, the North Italian resistance, and political life in the two decades following the war. This world, filled with powerful personalities, drama and clashing armies, bathes in the light of the truth. What makes this truly historical novel, with its epic scope, a masterpiece is the underlying spiritual dimensions of the protagonist, his family and friends, which illuminates the ongoing tragedy of the war and its aftermath. In the end, it is a story of faith and hope in a world reduced to barbarism and cruelty. Born in 1921 in Lombardy, Eugenio Corti joined the Italian Freedom Fighters. From his experiences of the tragic retreat from Russia, Corti wrote a fascinating chronicle, Most Did Not Return, and a book about the Italian Freedom Fighters, The Last Soldiers of the King.

    The Travels recounts Polo's journey to the eastern court of Kublai Khan, the chieftain of the Mongol empire which covered the Asian continent, but which was almost unknown to Polo's contemporaries. Encompassing a twenty-four year period from 1271, Polo's account details his travels in the service of the empire, from Beijing to northern India and ends with the remarkable story of Polo's return voyage from the Chinese port of Amoy to the Persian Gulf. Alternately factual and fantastic, Polo's prose at once reveals the medieval imagination's limits, and captures the wonder of subsequent travel writers when faced with the unfamiliar, the exotic or the unknown.

    Drawing artistic inspiration from his personal experience, these powerful, evocative stories are set in the late nineteenth- and early twentieth-century Russia of his youth, in the countries that he visited and in France, where he spent the last thirty years of his life. In the title story, for example, a family's tour of fashionable European resorts comes to an unexpected end; 'Late Hour' describes an old man's return to the little Russian town in the steppes that he has not seen since his early youth; while 'Mitya's Love' explores the darker emotional reverberations of sexual experience. Throughout his stories there is a sense of the precariousness of existence, an omnipresent awareness of the impermanence of human aspirations and achievements.007 Introduction017 The Gentleman from San Francisco (1915)038 The Primer of Love (1915)048 Chang's Dreams (1916)065 Temir-Aksak-Khan (1916)069 Long Ago (1922)077 An Unknown Friend (1923)087 At Sea, At Night (1923)095 Graffiti (1924)101 Mitya's Love (1924)160 Sunstroke (1925)168 Night (1925)180 The Cancasus (1937)185 Late Hour (1938)192 Visiting Cards (1940)199 Zoyka and Valeria (1940)213 The Riverside Tavern (1943)220 A Cold Autumn (1944)

    This new bilingual selection brings together some two hundred poems--the largest collection of Borges' poetry ever assembled in English, including scores of poems never previously translated. Edited by Alexander Coleman, the selection draws from a lifetime's work--from Borges' first published volume of verse, Fervor de Buenos Aires (1923), to his final work, Los Conjurados, published just a year before his death in 1986. Throughout this unique collection the brilliance of the Spanish originals is matched by luminous English versions by a remarkable cast of translators, including Robert Fitzgerald, Stephen Kessler, W. S. Merwin, Alastair Reid, Mark Strand, Charles Tomlinson, and John Updike.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    He's a quiet ten year old who can't help himself from dropping out of reality and into the amazing world of his vivid imagination. His daydreams are fantastic and fascinating - only in the bizarre and disturbing world of dreams can he swap bodies with the family cat and his baby cousin, Kenneth, or wipe out his entire family with vanishing cream.

    Returning home to England from Van Diemen's land, the Bristol Maid is shipwrecked on the Queensland coast and Mrs Roxburgh is taken prisoner by a tribe of aborigines, along with the rest of the passengers and crew. In the course of her escape, she is torn by conflicting loyalties - to her dead husband, to her rescuer, to her own and to her adoptive class.

    . . . It turned out to be one of the most extraordinary years I have ever spent: I was marked for death, and instead I was reborn."Traveling by foot, boat, bus, car, and train, he visited Burma, Thailand, Laos, Cambodia, Vietnam, China, Mongolia, Japan, Indonesia, Singapore, and Malaysia. Geography expanded under his feet. He consulted soothsayers, sorcerers, and shamans and received much advice--some wise, some otherwise--about his future. With time to think, he learned to understand, respect, and fear for older ways of life and beliefs now threatened by the crasser forms of Western modernity. He rediscovered a place he had been reporting on for decades. And reinvigorated himself in the process.

    Widely regarded as one of the greatest poets of our time, Milosz is a master of probing inquiry and graceful expression. His poetry is infused with a tireless spirit and penetrating insight into fundamental human dilemmas and the staggering yet simple truth that “to exist on the earth is beyond any power to name.”Czeslaw Milosz worked with the Polish Resistance movement in Warsaw during World War II and defected to France in 1951. His work brings to bear the political awareness of an exile—most notably in A Treatise on Poetry, a forty-page exploration of the world wars that rocked the first half of the twentieth century. His later poems also reflect the sharp political focus through which this Nobel Laureate never fails to bear witness to the events that stir the world.Digging among the rubble of the past, Milosz forges a vision that encompasses pain as well as joy. His work, wrote Edward Hirsch in the New York Times Book Review, is “one of the monumental splendors of poetry in our age.” With more than fifty poems from the end of Milosz’s career, this is an essential collection from one of the most important voices in contemporary poetry.

    The revision covers all the poems published in Princeton's earlier bilingual edition, "George Seferis: Collected Poems" (expanded edition, 1981). Winner of the Nobel Prize for Literature in 1963, George Seferis (1900-71) has long been recognized as a major international figure, and Keeley and Sherrard are his ideal translators. They create, in the words of Archibald MacLeish, a "translation worthy of Seferis, which is to praise it as highly as it could be praised."Although Seferis was preoccupied with his tradition as few other poets of the same generation were with theirs, and although he was actively engaged in the immediate political aspirations of his nation, his value for readers lies in what he made of this preoccupation and this engagement in fashioning a broad poetic vision. He is also known for his stylistic purity, which allows no embellishment beyond that necessary for precise yet rich poetic statement.