Every summer he visits his grandmother in a dusty village overlooking the vast steppes. Here, during the warm evenings, they sit on Charlotte's narrow, flower-covered bacony and listen to tales from another time, another place: Paris at the turn of the century. She who used to see Proust playing tennis in Neuilly captivates the children with stories of Tsar Nicholas's visit to Paris in 1896, of the great Paris flood of 1910, of the death of French president Felix Faure in the arms of his mistress. But from Charlotte the boy also learns of a Russia he has never known, of famine and misery, of brutal injustice, of the hopeless chaos of war. He follows her as she travels by foot from Moscow half the way to Siberia; suffers with her as she tells of her husband - his grandfather - a victim of Stalin's purges; shudders as she describes her own capture by bandits, who brutalize her and left her for dead. Could all this pain and suffering really have happened to his gentle, beloved Charlotte? Mesmerized, the boy weaves Charlotte's stories into his own secret universe of memory and dream. Yet, despite all the deprivations and injustices of the Soviet world, he like many Russians still feels a strong affinity with and "an indestructible love" for his homeland.

    She is also facing the end of her most intense love affair, with Fred Peloux--known as Chéri--a playboy half her age. But neither lover understands how deeply they are attached, or how much life they will give up by parting ways.

    to restore their freedom in a world run mad.Nickie Halflinger, the only person to escape from Tarnover—where they raise hyper-intelligent children to maintain the political dominance of the USA in the 21st century—is on the run, dodging from loophole to crevice to crack in the computerised data-net that binds the continent like chains. After years of flight and constant changes of identity, at the strange small town called Precipice he discovers he is not alone in his quest. But can his new allies save him when he falls again into the sinister grasp of Tarnover...?

    His job in a bank puts him next to, but not in possession of, money. As a clerk he learns the principles of Double-Entry Bookkeeping and adapts them in his own dramatic fashion to settle his personal account with society.Under the column headed 'Aggravation' for offences received from society (unpleasantness of Bank Manager; general diminution of life caused by advertising), debit Christie; under 'Recompense' for offences given back to society (general removal of items of stationery; Pork Pie Purveyors Ltd. bomb hoax), credit Christie. All accounts are to be settled in full, and they are - in the most alarming way.B.S. Johnson was one of Britain's most original writers and Christie Malry's Own Double-Entry is his funniest book.

    Under the slogans of equality and happiness for all, it has done away with individualism and freedom of thought. Only John Krug, a brilliant philosopher, stands up to the regime. His antagonist, the leader of the new party, is his old school enemy, Paduk – known as the ‘Toad’. Grieving over his wife’s recent death, Krug is at first dismissive of Paduk’s activities and sees no threat in them. But the sinister machine which Paduk has set in motion may prove stronger than the individual, stronger even than the grotesque ‘Toad’ himself. The first novel Nabokov wrote while living in America and the most overtly political novel he ever wrote, Bend Sinister is a modern classic.  While it is filled with veiled puns and characteristically delightful wordplay, it is, first and foremost, a haunting and compelling narrative about a civilized man caught in the tyranny of a police state.  Professor Adam Krug, the country's foremost philosopher, offers the only hope of resistance to Paduk, dictator and leader of the Party of the Average Man.  In a folly of bureaucratic bungling and ineptitude, the government attempts to co-opt Krug's support in order to validate the new regime.

    His account of the people he encountered changed the field of anthropology, transforming Western notions of ‘primitive’ man. Tristes Tropiques is a major work of art as well as of scholarship. It is a memoir of exquisite beauty and a masterpiece of travel writing: funny, discursive, movingly detailing personal and cultural loss, and brilliantly connecting disparate fields of thought. Few books have had as powerful and broad an impact.

    The literary critic Roland Barthes dies—struck by a laundry van—after lunch with the presidential candidate François Mitterand. The world of letters mourns a tragic accident. But what if it wasn’t an accident at all? What if Barthes was . . . murdered?

    Huxley's bold, nontraditional narrative tells the loosely autobiographical story of Anthony Beavis, a cynical libertine Oxford graduate who comes of age in the vacuum left by World War I. Unfulfilled by his life, loves, and adventures, Anthony is persuaded by a charismatic friend to become a Marxist and take up arms with Mexican revolutionaries. But when their disastrous embrace of violence nearly kills them, Anthony is left shattered—and is forced to find an alternative to the moral disillusionment of the modern world.

    Stendhal narrates a young aristocrat's adventures in Napoleon's army and in the court of Parma, illuminating in the process the whole cloth of European history. As Balzac wrote, "Never before have the hearts of princes, ministers, courtiers, and women been depicted like this...one sees perfection in every detail."With beautiful illustrations by Robert Andrew Parker.

    Immensely popular for years, the novel led to a hit play, a series of popular films, Trilby products from hats to ice-cream, and streets in Florida named after characters in the book. The setting reflects Du Maurier's bohemian years as an art student in Paris before he went to London to make a career in journalism. A celebrated caricaturist for Punch magazine, Du Maurier's drawings for the novel--of which his most significant are included here--form a large part of its appeal.

    Eumeswil is a utopian state ruled by the Condor, a general who has installed himself as a dictator and who dominates the capital from a guarded citadel atop a hill - the Casbah. A refined manipulator of power, the Condor despises the democrats who conspire against him. Venator, the narrator of the novel, is a historian whose discreet and efficient services as the Condor's night steward earn him full access to the forbidden zone, at the very heart of power. Every evening, while attending to the Condor and his guests at the Casbah's night bar, Venator keeps a secret journal in which he records the conversations he overhears, delineating the diverse personalities in the Condor's entourage while sketching out an analysis of the different aspects of the psychology of power. Venator's days are spent building a hidden refuge in the mountains, a hermetic retreat where he hopes one day to realize his dreams of utter self-sufficiency. In the meantime, however, he continues to pursue his career as a historian, using the magnificent tool that has been placed at his disposal - the "luminar", a holographic instrument that can summon up any figure or event in human history. Venator, in a word, embodies Junger's ideal of the "anarch" - a heroic figure whose radical skepticism and individualism are not to be confused with mere anarchism. Around the opposite figures of the dictator and the anarch, Junger weaves a hallucinatory and poetic rumination on the nature of history and on the mainsprings of political power. At once tale, essay and philosophical poem, Eumeswil offers a desolate and lucid assessment of totalitarianism by an author who witnessed its horrors firsthand.

    In separate wings of a Viennese hospital, two men lie bedridden. The narrator, Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of the celebrated philosopher Ludwig Wittgenstein, is suffering from one of his periodic bouts of madness. As their once-casual friendship quickens, these two eccentric men begin to discover in each other a possible antidote to their feelings of hopelessness and mortality—a spiritual symmetry forged by their shared passion for music, a strange sense of humor, disgust for bourgeois Vienna, and fear in the face of death. Part memoir, part fiction, Wittgenstein’s Nephew is both a meditation on the artist’s struggle to maintain a solid foothold in a world gone incomprehensibly askew, and an eulogy to a real-life friendship.

    Every two years the international art world descends on Venice for the opening of the Biennale. Among them is Jeff Atman–a jaded and dissolute journalist–whose dedication to the cause of Bellini-fuelled partygoing is only intermittently disturbed by the obligation to file a story. When he meets the spellbinding Laura, he is rejuvenated and ecstatic. Their romance blossoms quickly, but is it destined to disappear just as rapidly? Every day thousands of pilgrims head to the banks of the Ganges at Varanasi, the holiest Hindu city in India. Among their number is a narrator who may or may not be the Atman previously seen in Venice. Intending to visit only for a few days he ends up staying for months, and suddenly finds–or should that be loses?–a hitherto unexamined idea of himself, the self. In a romance he can only observe, he sees a reflection of the kind of pleasures that, willingly or not, he has renounced. In the process, two ancient and watery cities become versions of each other. Could two stories, in two different cities, actually be one and the same story? Nothing Geoff Dyer has written before is as wonderfully unbridled, as dead-on in evocation of place, longing and the possibility of neurotic enlightenment, and as irrepressibly entertaining as Jeff in Venice, Death in Varanasi.

    Massacres, conspiracies, clandestine trysts, secret alliances, daring escapes, sumptuous feasts, and duels of wit propel the action in this delightful story of French royalty during the 16th century. Advertising with movie.

    Mikhail Bulgakov was flung into the depths of freezing rural Russia which, in 1916-17, was still largely unaffected by such novelties as the motor car, the telephone or electric light. How his alter-ego copes (or fails to cope) with the new and often appalling responsibilities of a lone doctor in a vast country practice — on the eve of Revolution — is described in Bulgakov's delightful blend of candid realism and imaginative exuberance.