We have been constrained by unwritten rules not to do so, by the robes of tradition and by the sanctity of our exclusive calling...But I feel it is time to speak out."Celebrated as the most successful geisha of her generation, Mineko Iwasaki was only five years old when she left her parents' home for the world of the geisha. For the next twenty-five years, she would live a life filled with extraordinary professional demands and rich rewards. She would learn the formal customs and language of the geisha, and study the ancient arts of Japanese dance and music. She would enchant kings and princes, captains of industry, and titans of the entertainment world, some of whom would become her dearest friends. Through great pride and determination, she would be hailed as one of the most prized geishas in Japan's history, and one of the last great practitioners of this now fading art form.In Geisha, a Life, Mineko Iwasaki tells her story, from her warm early childhood, to her intense yet privileged upbringing in the Iwasaki okiya (household), to her years as a renowned geisha, and finally, to her decision at the age of twenty-nine to retire and marry, a move that would mirror the demise of geisha culture. Mineko brings to life the beauty and wonder of Gion Kobu, a place that "existed in a world apart, a special realm whose mission and identity depended on preserving the time-honored traditions of the past." She illustrates how it coexisted within post-World War II Japan at a time when the country was undergoing its radical transformation from a post-feudal society to a modern one."There is much mystery and misunderstanding about what it means to be a geisha. I hope this story will help explain what it is really like and also serve as a record of this unique component of Japan's cultural history," writes Mineko Iwasaki. Geisha, a Life is the first of its kind, as it delicately unfolds the fabric of a geisha's development. Told with great wisdom and sensitivity, it is a true story of beauty and heroism, and of a time and culture rarely revealed to the Western world.

    Winner of the Duff Cooper Memorial Prize, it is a document at once personal, poetic and subtly political - a masterly combination of travelogue, memoir and treatise.'He writes as an artist, as well as a poet; he remembers colour and landscape and the nuances of peasant conversation . . . Eschewing politics, it says more about them than all our leading articles . . . In describing a political tragedy it often has great poetic beauty.' Kingsley Martin, New Statesman'Durrell possesses exceptional qualifications. He speaks Greek fluently; he has a wide knowledge of modern Greek history, politics and literature; he has lived in continental Greece and has spent many years in other Greek islands . . . His account of this calamity is revelatory, moving and restrained. It is written in the sensitive and muscular prose of which he is so consummate a master.' Harold Nicolson, Observer

    Polish army officer Witold Pilecki volunteered to be arrested by the Germans and reported from inside the camp. His intelligence reports, smuggled out in 1941, were among the first eyewitness accounts of Auschwitz atrocities: the extermination of Soviet POWs, its function as a camp for Polish political prisoners, and the "final solution" for Jews. Pilecki received brutal treatment until he escaped in April 1943; soon after, he wrote a brief report. This book is the first English translation of a 1945 expanded version. In the foreword, Poland's chief rabbi states, "If heeded, Pilecki's early warnings might have changed the course of history." Pilecki's story was suppressed for half a century after his 1948 arrest by the Polish Communist regime as a "Western spy." He was executed and expunged from Polish history. Pilecki writes in staccato style but also interjects his observations on humankind's lack of progress: "We have strayed, my friends, we have strayed dreadfully... we are a whole level of hell worse than animals!" These remarkable revelations are amplified by 40 b&w photos, illus., and maps

    How easy was it to know what was actually going on, to grasp the essence of National Socialism, to remain untouched by the propaganda or predict the Holocaust?Travellers in the Third Reich is an extraordinary history of the rise of the Nazis based on fascinating first-hand accounts, drawing together a multitude of voices and stories, including students, politicians, musicians, diplomats, schoolchildren, communists, scholars, athletes, poets, journalists, fascists, artists, tourists, even celebrities like Charles Lindbergh and Samuel Beckett. Their experiences create a remarkable three-dimensional picture of Germany under Hitler – one so palpable that the reader will feel, hear, even breathe the atmosphere.These are the accidental eyewitnesses to history. Disturbing, absurd, moving, and ranging from the deeply trivial to the deeply tragic, their tales give a fresh insight into the complexities of the Third Reich, its paradoxes and its ultimate destruction.

    This novella, first published in 1947 and now translated into English for the first time, shows Hans Keilson at his best: deeply ironic, penetrating, sympathetic, and brilliantly modern, an heir to Joseph Roth and Franz Kafka. In 2008, when Keilson received Germany’s prestigious Welt Literature Prize, the citation praised his work for exploring “the destructive impulse at work in the twentieth century, down to its deepest psychological and spiritual ramifications.” Published to celebrate Keilson’s hundredth birthday, Comedy in a Minor Key — and The Death of the Adversary, reissued in paperback — will introduce American readers to a forgotten classic author, a witness to World War II and a sophisticated storyteller whose books remain as fresh as when they first came to light.

    British special forces officers W. Stanley Moss and Patrick Leigh Fermor, together with a small band of Cretan partisans, kidnapped the general, then evaded numerous German checkpoints and patrols for nearly three weeks as they maneuvered across the mountainous island to a rendezvous with the boat that finally whisked them away to Allied headquarters in Cairo.

    The second chapter considers the way in which the West was seen at the time by residents of Central and Eastern Europe, while the third outlines the practice of Ketman, the act of paying lip service to authority while concealing personal opposition, describing seven forms applied in the people's democracies of mid-20th century Europe.The four chapters at the heart of the book then follow, each a portrayal of a gifted Polish man who capitulated, in some fashion, to the demands of the Communist state. They are identified only as Alpha, the Moralist; Beta, The Disappointed Lover; Gamma, the Slave of History; and Delta, the Troubadour. However, each of the four portraits were easily identifiable: Alpha is Jerzy Andrzejewski, Beta is Tadeusz Borowski, Gamma is Jerzy Putrament and Delta is Konstanty Ildefons Gałczyński.The book moves toward its climax with an elaboration of "enslavement through consciousness" in the penultimate chapter and closes with a pained and personal assessment of the fate of the Baltic nations in particular.

    Leo would spend the next five years in a coke processing plant, shoveling coal, lugging bricks, mixing mortar, and battling the relentless calculus of hunger that governed the labor colony: one shovel load of coal is worth one gram of bread.In her new novel, Nobel laureate Herta Müller calls upon her unique combination of poetic intensity and dispassionate precision to conjure the distorted world of the labor camp in all its physical and moral absurdity. She has given Leo the language to express the inexpressible, as hunger sharpens his senses into an acuity that is both hallucinatory and profound. In scene after disorienting scene, the most ordinary objects accrue tender poignancy as they acquire new purpose—a gramophone box serves as a suitcase, a handkerchief becomes a talisman, an enormous piece of casing pipe functions as a lovers' trysting place. The heart is reduced to a pump, the breath mechanized to the rhythm of a swinging shovel, and coal, sand, and snow have a will of their own. Hunger becomes an insatiable angel who haunts the camp day and night, but also a bare-knuckled sparring partner, delivering blows that keep Leo feeling the rawest connection to life.Müller has distilled Leo's struggle into words of breathtaking intensity that take us on a journey far beyond the Gulag and into the depths of one man's soul.

    She was Rose Buckland, Lee's cousin by marriage.From the Paperback edition.

    Childhood tells the story of a misfit child's single-minded determination to become a poet; Youth describes her early experiences of sex, work, and independence. Dependency picks up the story as the narrator embarks on the first of her four marriages and goes on to describe her horrible descent into drug addiction, enabled by her sinister, gaslighting doctor-husband.Throughout, the narrator grapples with the tension between her vocation as a writer and her competing roles as daughter, wife, mother, and drug addict, and she writes about female experience and identity in a way that feels very fresh and pertinent to today's discussions around feminism. Ditlevsen's trilogy is remarkable for its intensity and its immersive depiction of a world of complex female friendships, family and growing up--in this sense, it's Copenhagen's answer to Elena Ferrante's Neapolitan Novels. She can also be seen as a spiritual forerunner of confessional writers like Karl Ove Knausgaard, Annie Ernaux, Rachel Cusk and Deborah Levy. Her trilogy is drawn from her own experiences but reads like the most compelling kind of fiction.Born in a working-class neighborhood in Copenhagen in 1917, Ditlevsen became famous for her poetry while still a teenager, and went on to write novels, stories and memoirs before committing suicide in 1976. Having been dismissed by the critical establishment in her lifetime as a working-class, female writer, she is now being rediscovered and championed as one of Denmark's most important modern authors, with Tove fever gripping readers.

    With only their bare hands and the crudest of homemade tools, they sank shafts, forged passports, faked weapons, and tailored German uniforms and civilian clothes. They developed a fantastic security system to protect themselves from German surveillance.It was a split-second operation as delicate and as deadly as a time bomb. It demanded the concentrated devotion and vigilance of more than six hundred men—every one of them, every minute, every hour, every day and night for more than a year.Made into the classic 1963 war film of the same name starring Steve McQueen, James Garner, and Richard Attenborough.

    A little cobbled street in a smoky mill town in the North of England has haunted me for the greater part of my life. It was inevitable that I should write about it and the people who lived on both sides of its "Invisible Wall." The narrow street where Harry Bernstein grew up, in a small English mill town, was seemingly unremarkable. It was identical to countless other streets in countless other working-class neighborhoods of the early 1900s, except for the "invisible wall" that ran down its center, dividing Jewish families on one side from Christian families on the other. Only a few feet of cobblestones separated Jews from Gentiles, but socially, it they were miles apart.On the eve of World War I, Harry's family struggles to make ends meet. His father earns little money at the Jewish tailoring shop and brings home even less, preferring to spend his wages drinking and gambling. Harry's mother, devoted to her children and fiercely resilient, survives on her dreams: new shoes that might secure Harry's admission to a fancy school; that her daughter might marry the local rabbi; that the entire family might one day be whisked off to the paradise of America.Then Harry's older sister, Lily, does the unthinkable: She falls in love with Arthur, a Christian boy from across the street. When Harry unwittingly discovers their secret affair, he must choose between the morals he's been taught all his life, his loyalty to his selfless mother, and what he knows to be true in his own heart.A wonderfully charming memoir written when the author was ninety-three, The Invisible Wall vibrantly brings to life an all-but-forgotten time and place. It is a moving tale of working-class life, and of the boundaries that can be overcome by love.

    Not since The Diary of Anne Frank has a young voice so vividly expressed the capacity for humanity and heroism in the face of Nazi brutality.

    From late 1931 to the end of 1932, Nin falls in love with Henry Miller's writing and his wife June's striking beauty. When June leaves Paris for New York, Henry and Anaïs begin a fiery affair that liberates her sexually and morally, but also undermines her marriage and eventually leads her into psychoanalysis. As she grapples with her own conscience, a single question dominates her thoughts: What will happen when June returns to Paris? An intimate account of one woman's sexual awakening, Henry and June exposes the pain and pleasure felt by a single person trapped between two loves.

    After gaining admission to Oxford, and moving to the United States to become a journalist, through several love affairs, then marriage and family, Mead read and reread Middlemarch. The novel, which Virginia Woolf famously described as "one of the few English novels written for grown-up people," offered Mead something that modern life and literature did not.In this wise and revealing work of biography, reporting, and memoir, Rebecca Mead leads us into the life that the book made for her, as well as the many lives the novel has led since it was written. Employing a structure that deftly mirrors that of the novel, My Life in Middlemarch takes the themes of Eliot's masterpiece--the complexity of love, the meaning of marriage, the foundations of morality, and the drama of aspiration and failure--and brings them into our world. Offering both a fascinating reading of Eliot's biography and an exploration of the way aspects of Mead's life uncannily echo that of Eliot herself.