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.

    Perec's spellbinding puzzle begins in an apartment block in the XVIIth arrondissement of Paris where, chapter by chapter, room by room, like an onion being peeled, an extraordinary rich cast of characters is revealed in a series of tales that are bizarre, unlikely, moving, funny, or (sometimes) quite ordinary. From the confessions of a racing cyclist to the plans of an avenging murderer, from a young ethnographer obsessed with a Sumatran tribe to the death of a trapeze artist, from the fears of an ex-croupier to the dreams of a sex-change pop star to an eccentric English millionaire who has devised the ultimate pastime, Life is a manual of human irony, portraying the mixed marriages of fortunes, passions and despairs, betrayals and bereavements, of hundreds of lives in Paris and around the world.But the novel is more than an extraordinary range of fictions; it is a closely observed account of life and experience. The apartment block's one hundred rooms are arranged in a magic square, and the book as a whole is peppered with a staggering range of literary puzzles and allusions, acrostics, problems of chess and logic, crosswords, and mathematical formulae. All are there for the reader to solve in the best tradition of the detective novel.

    . . Both melancholy and gay and worldly, I think of it now as among the best books on Venice; indeed as the best modern book about a city that I have ever read.' Geoffrey Grigson'One of the most diverse and diverting books ever written about Venice . . . A taut and personal report, wholly absorbing, quickened by vivid prose and astringent humour.' Sunday Times'For those of whom Venice is a memory, a treat in store, or even a dream, the broad canvas of this book covering a thousand years in the life of one of the most complex, original, and active communities the world has ever seen, is a work of lasting interest.' Guardian

    This is the bilingual edition with German verso, English recto.

    Although it was not published for over thirty years, it was an instant bestseller when it finally appeared in 1994. The 'first man' is Jacques Cormery, whose poverty-stricken childhood in Algiers is made bearable by his love for his silent and illiterate mother, and by the teacher who transforms his view of the world. The most autobiographical of Camus's novels, it gives profound insights into his life, and the powerful themes underlying his work.

    This also happens with couples--indeed, above all with couples, because lovers fear more than anything else "losing sight" of that loved one.With stunning artfulness in expanding and playing variations on the meaningful moment, Milan Kundera has made this situation--and the vague sense of panic it inspires--the very fabric of his novel. Here brevity goes hand in hand with intensity, and a moment of bewilderment marks the start of a labyrinthine journey during which the reader repeatedly crosses the border between the real and the unreal, between what occurs in the world outside, and what the mind creates in its solitude.Of all contemporary writers, only Kundera can transform such a hidden and disconcerting perception into the material for a novel, one of his finest, most painful, and most enlightening. Which, surprisingly, turns out to be a love story.

    Have been forever, will be forever. Forever, mind you, with the razor-sharp glint of a diamond, and without any counterpart in the languages of men. So begins God’s diary of the existential crisis that ensues when, inexplicably, he falls in love with a human. And not just any human, but a geneticist and fanatical atheist who’s certain she can improve upon the magnificent creation she doesn’t even give him the credit for. It’s frustrating, for a god.God has infinitely bigger things to occupy his celestial attentions. Yet he can’t tear his eyes (so to speak) from the geneticist who’s unsettlingly avid when it comes to science, sex, and Sicilian cannoli. Whatever happens, he must safeguard his transcendental dignity. So he watches—disinterestedly, of course—as the handsome climatologist who has his sights set on her keeps having strange accidents. And as the lanky geneticist becomes hell-bent on infiltrating the Vatican’s secret files, for reasons of her own….A sly critique of the hypocrisy and hubris that underlie faith in religion, science, and macho careerism, I Am God takes us on a hilarious and provocative romp through the Big Questions with the universe’s supreme storyteller.

    The surroundings are glamorous, wine flows freely, and the exhilarated young Hofmiller asks his host's lovely daughter for a dance, only to discover that sickness has left her painfully crippled. It is a minor blunder, yet one that will go on to destroy his life, as pity and guilt gradually implicate him in a well-meaning but tragically wrongheaded plot to restore the unhappy invalid to health."Stefan Zweig was a dark and unorthodox artist; it's good to have him back." —Salman Rushdie

    In impressionistic, diary form he ruthlessly catalogues his every feeling and sensation about the world and people around him. His thoughts culminate in a pervasive, overpowering feeling of nausea which "spread at the bottom of the viscous puddle, at the bottom of our time, the time of purple suspenders and broken chair seats; it is made of wide, soft instants, spreading at the edge, like an oil stain." Roquentin's efforts to try and come to terms with his life, his philosophical and psychological struggles, give Sartre the opportunity to dramatize the tenets of his Existentialist creed.The introduction for this edition of Nausea by Hayden Carruth gives background on Sartre's life and major works, a summary of the principal themes of Existentialist philosophy, and a critical analysis of the novel itself.

    The doctor, of a newly arrived German hospital ship, Pietri Friari gives the unconscious soldier medical assistance. His new patient has no documents or anything that can identifying him. When he regains consciousness he has lost his memory and cannot even remember what language he speaks. From a few things found on the man the doctor, who is originally from Finland, believes him to be a sailor and a fellow countryman, who somehow or other has ended up in Trieste. The doctor dedicates himself to teaching the man Finnish, beginning the reconstruction of the identity of Sampo Karjalainen, leading the missing man to return to Finland in search of his identity and his past.New Finnish Grammar won three literary prizes in Italy in 2001: Premio Grinzane Cavour, Premio Ostia Mare and Premio Giuseppe Desi and has received critical acclaim across Europe.

    Their lives are shaped by hunger, theft, betrayal, and prostitution, and they celebrate their triumphs with brutal abandon and die bleak deaths. This harsh world is portrayed with an understanding that humanity and even humor can exist amidst a hard and amoral society. A novel that caused a scandal upon its first publication more than 50 years ago, this new translation eloquently captures the gritty Roman slang of the Italian original and tells a story that still resonates powerfully to this day.

    Telling of the siege of Leningrad, of glittering dinner parties with Nazi leaders, and of trains disgorging bodies in war-devastated Romania, Malaparte paints a picture of humanity at its most depraved.Kaputt is an insider’s dispatch from the world of the enemy that is as hypnotically fascinating as it is disturbing.

    for they would be able to do all these things simply by changing the words ..." The power of the word is evident in Portuguese author José Saramago's novel, The History of the Siege of Lisbon. His protagonist, a proofreader named Raimundo Silva, adds a key word to a history of Portugal and thus rewrites not only the past, but also his own life. Brilliantly translated from the Portuguese by Giovanni Pontiero, The History of the Siege of Lisbon is a meditation on the differences between historiography, historical fiction, and "stories inserted into history." The novel is really two stories in one: the reimagined history of the 1147 siege of Lisbon that Raimundo feels compelled to write and the story of Raimundo's life, including his unexpected love affair with the editor, Maria Sara. In Saramago's masterful hands, the strands of this complex tale weave together to create a satisfying whole.

    His father was a worker and an anarchist; Walter himself is a Communist. In the 1930s, he left Mussolini’s Italy to fight Franco in Spain. After Franco’s victory, he left Spain for exile in the United States. With the end of the war, he returned to Italy to work as a labor organizer and to build a new revolutionary order. Now, in the late 1950s, Walter is a deputy in the Italian parliament.He is not happy about it. Parliamentary proceedings are too boring for words: the Communist Party seems to be filling up with ward heelers, timeservers, and profiteers. For Walter, the political has always taken precedence over the personal, but now there seems to be no refuge for him anywhere. The puritanical party disapproves of his relationship with Nuccia, a tender, quizzical, deeply intelligent editor who is separated but not divorced, while Walter is worried about his health, haunted by his past, and increasingly troubled by knotty questions of both theory and practice. Walter is, always has been, and always will be a Communist, he has no doubt about that, and yet something has changed. Communism no longer explains the life he is living, the future he hoped for, or, perhaps most troubling of all, the life he has led.

    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.