Parable, paradox, anecdote, dream, and autobiography blend into an exuberant world view and affirmation of human possibility.

    To compensate for the physical void which temporarily stalls their caresses, Brausen eavesdrops on the conversation of his neighbors, a husband and wife, imagining their gestures and their expressions. But he not only wishes to imagine himself as someone else, he also seeks release from the world he knows. He leads many lives, some real and some fantastic, in order to experience a moment of psychic weightlessness.

    She is locked in a mental institution, and her breasts are removed due to a misdiagnosis of cancer. As she looks back, she wonders if she made bad decisions or if the decisions chose her.

    Time shifts from one consciousness to another in a hypnotic flow of dreams, desires, and memories, a world of ghosts dominated by the figure of Pedro Páramo - lover, overlord, murderer.Rulfo's extraordinary mix of sensory images, violent passions, and unfathomable mysteries has been a profound influence on a whole generation of Latin American writers, including Carlos Fuentes, Mario Vargas Llosa, and Gabriel García Márquez. To read Pedro Páramo today is as overwhelming an experience as when it was first published in Mexico back in 1955.

    There Felipe meets her beautiful green-eyed niece, Aura. His passion for Aura and his gradual discovery of the true relationship between the young woman and her aunt propel the story to its extraordinary conclusion.

    His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the "antipoet") hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinberger's celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

    Adler, editor of Great Books of the Western World. It has been acknowledged by its author as his most personal work. Composed of poems, parables, and stories, sketches and apocryphal quotations, Dreamtigers at first glance appears to be a sampler—albeit a dazzling one—of the master's work. Upon closer examination, however, the reader discovers the book to be a subtly and organically unified self-revelation. Dreamtigers explores the mysterious territory that lies between the dreams of the creative artist and the "real" world. The central vision of the work is that of a recluse in the "enveloping serenity " of a library, looking ahead to the time when he will have disappeared but in the timeless world of his books will continue his dialogue with the immortals of the past — Homer, Don Quixote, Shakespeare. Like Homer, the maker of these dreams is afflicted with failing sight. Still, he dreams of tigers real and imagined, and reflects upon of a life that, above all, has been intensely introspective, a life of calm self-possession and absorption in the world of the imagination. At the same time he is keenly aware of that other Borges, the public figure about whom he reads with mixed emotions: "It's the other one, it's Borges, that things happen to."

    Ricardo Guiraldes, a friend of Jorge Luis Borges - they both founded the legendary magazine Proa - managed to develop a simple and modern language, a high quality mixture of literacy and colourful local camp expressions that earned him a major standing among the best representatives of "criollismo."Even though it may be considered as a continuity with Martin Fierro, more than an extinguished gaucho elegy Don Segundo Sombra proposes new ethical examples to a youth that Guiraldes considered disoriented and restless. Basically structured as lessons to be absorbed departing from inexperience, lessons on labour, amusement, morals, camp chores (horse taming, cattle rodeo, raw hide handy work, animal healing, etc.), they become an example of "lo argentino" supported by a very specific and precise lexikon.Our edition includes more than 300 lexicographic notes, conveniently placed at the bottom of the pages and intended to help the modern reader grasp the exact meaning of the text without obtrusive lengthy interruptions. The notes were made after a careful research work that included the critical Martin Fierro editions by Eleuterio F. Tiscornia, Ed. Losada, Buenos Aires, 1941; by Carlos Alberto Leumann, Ed. Angel de Estrada, Buenos Aires, 1945; and by Santiago M. Lugones, Ed. Centurion, Buenos Aires, 1948; their own notes compared between them and with the critical edition by Elida Lois y Angel Nunez, Ed. ALLCA XX (Association Archives de la Litterature Latinoamericaine, des Caraibes et Africaine du XX Siecle), Paris 2001; with Leopoldo Lugones en El payador, Ed. Centurion, Bs. As. 1948 (and Stockcero 2004); Francisco Castro in Vocabulario y frases del Martin Fierro, Ed. Kraft, Bs. As. 1950, and Domingo Bravo en El Quichua en el Martin Fierro y Don Segundo Sombra, Ed. Instituto Amigos del Libro Argentino, Bs. As. 1968; Horacio J. Becco en don Segundo Sombra y su vocabulario, Ed. Ollantay, Bs. As. 1952; Ramon R. Capdevila 1700 refranes, dichos y modismos (region central bonaerense), Ed. Patria, Bs. As. 1955; Emilio Solanet Pelajes Criollos, Ed. Kraft, Bs. As. 1955; and Tito Saubidet Vocabulario y refranero criollo, Ed. Kraft, Bs. As. 1943"

    The narrator, unable to stop himself, tries to track Ruiz-Tagle down, and sees signs of his activity over and over again. A corrosive, mocking humor sparkles within Bolaño's darkest visions of Chile under Pinochet. In Bolaño's world there's a big graveyard and there's a big graveyard laugh. (He once described his novel By Night in Chile as "a tale of terror, a situation comedy, and a combination pastoral-gothic novel.")Many Chilean authors have written about the "bloody events of the early Pinochet years, the abductions and murders," Richard Eder commented in the The New York Times: "None has done it in such a dark and glittering fashion as Roberto Bolaño."

    She moved to Atlanta to escape her old life and pursue her dream of becoming a Physician Assistant. With the help of her roommate, Livey, she has finally gotten her life back on track and will be graduating from Emory University with honors.Then, she meets Donovan Callahan, a sexy and wealthy doctor who Allie cannot resist. Their relationship starts off intense and full of passion. Donovan wants to give Allie the world. But she soon learns he was involved with Claire Dubois, a reality star convicted of murdering her husband. Will she stick by his side when all of his baggage comes to the surface or will she be overwhelmed and turn her back on him?Contains explicit sex and graphic language.

    And survive she did, but not unscathed. This intimate narrative echoes the voice of the narrator's younger self, a sharp, sensitive girl keen to life's hardships.With bare language and smart humor, both delicate and unafraid, the narrator strings a strand of touching moments together to create a portrait of an unconventional childhood that crushed her, scarred her, mended her, tore her apart and ultimately made her whole.

    As is his habit–he has purchased hundreds of women–he asks a madam for her assistance. The fourteen-year-old girl who is procured for him is enchanting, but exhausted as she is from caring for siblings and her job sewing buttons, she can do little but sleep. Yet with this sleeping beauty at his side, it is he who awakens to a romance he has never known. Tender, knowing, and slyly comic, Memories of My Melancholy Whores is an exquisite addition to the master’s work.--back cover

    But that dream is soon shattered. Lorenzo's once-wealthy parents, now in dire need of financial help because of the Great Depression, force the newlyweds to move into the family's crumbling mansion with them. Marguita is hardly settled with her in-laws when Lorenzo's older sister, the spinster Lolo, behaves in a shocking way toward the young couple, seriously injuring Marguita's sense of honor and causing a dangerous rift between the two. In despair, Marguita flees to her mother, Dolores, a truly Wise woman, whose love, generosity, and resourcefulness provide the glue that promises to mend the break.

    Hopscotch is the dazzling, freewheeling account of Oliveira's astonishing adventures.The book is highly influenced by Henry Miller’s reckless and relentless search for truth in post-decadent Paris and Daisetz Teitaro Suzuki’s modal teachings on Zen Buddhism.Cortázar's employment of interior monologue, punning, slang, and his use of different languages is reminiscent of Modernist writers like Joyce, although his main influences were Surrealism and the French New Novel, as well as the "riffing" aesthetic of jazz and New Wave Cinema.In 1966, Gregory Rabassa won the first National Book Award to recognize the work of a translator, for his English-language edition of Hopscotch. Julio Cortázar was so pleased with Rabassa's translation of Hopscotch that he recommended the translator to Gabriel García Márquez when García Márquez was looking for someone to translate his novel One Hundred Years of Solitude into English. "Rabassa's One Hundred Years of Solitude improved the original," according to García Márquez.

    His highly-acclaimed work includes One Hundred Years of Solitude, The Autumn of the Patriarch and Love in the Time of Cholera. He won the Nobel Prize for Literature in 1982 for his literary production prior to Chronicle of a Death Foretold. A principal exponent of 'magical realism', his work forms a significant part of the debate about postmodernist writing, and the study of fantasy as a genre. Dr. Fiddian's detailed and accessible Introduction places Marquez's work in the contexts of national, regional (Caribbean) and continental (Latin American) writing and develops a coherent overview of the author's literary output. The essays selected for inclusion in this collection bring together some of the most up-to-date and authoritative assessments of Marquez's writing, from early stories and novellas, through the major novels, up to Love in the Time of Cholera. Featuring a variety of critical approaches, this fascinating study provides the first annotated anthology of criticism in English.