He has fully recovered when the train pulls into a fort to stock up on supplies. It is there that the leaders of the train meet Morton Harper, a smooth-talking man who persuades them to take an easier trail that will allow them to escape an attack by Indians. Bannon knows that there will be no escape from attack on that route and that it will lead the train directly onto Hardy Bishop’s vast ranching domain. Either way, and probably both, it will mean war—a war the pioneers will undoubtedly lose.Bannon first appeared in Giant Western (Winter 1948) under the title Showdown Trail. L’Amour subsequently reworked and expanded this story into The Tall Stranger, published as an original paperback in 1957. The expanded story was filmed as The Tall Stranger (Allied Artists, 1957), directed by Thomas Carr and starring Joel McCrea and Virginia Mayo.

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    This is a story of family intrigues and physical and mental disintegration. Neglected and humiliated by society, each lives in his private world of near madness. Finally one is helped by a rich relative whilst the other dies of neglect. Montherlant portrays with a mixture of irony and sympathy and a terrifying realism the strange twilight world inhabited by these two characters.

    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.

    It continues as a series of unforgettable encounters with men and, especially, women whose lives have been improbably and yet permanently transfigured by the strange power of desire. Lucid and lyrical, The Pure and the Impure stands out as one of modern literature's subtlest reckonings, not only with the varieties of sexual experience, but with the always unlikely nature of love.

    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.

    One of Bataille’s overtly political works, it explores the ambiguity of sex as a subversive force, bringing violence, power, and death together in a terrifying unity.

    The narrator, a boy of sixteen, tells of his love affair with Martha Lacombe, a young woman whose soldier husband is away at the front. With an accuracy of insight that is almost ruthless, he describes his conflicting emotions—the pride of an adolescent on the verge of manhood and the pain of a child thrust too fast into maturity.The liaison soon becomes a scandal, and their friends, horrified and incredulous, refuse to accept what is happening—even when the affair reaches its tragic climax.

    The only thing he fears is missing the action. Soon, however, the vaunted “war to end all wars” seems like a war that will never end: whether mired in the trenches or going over the top, Jean finds himself caught in the midst of an unimaginable, unceasing slaughter. After he is wounded, he returns from the front to discover a world where no one knows or wants to know any of this. Both the public and the authorities go on talking about heroes — and sending more men to their graves. But Jean refuses to keep silent. He will speak the forbidden word. He will tell them about fear.

    Placed by the parents of a 15-year-old Jewish girl, Dora Bruder, who had run away from her Catholic boarding school, the ad sets Modiano off on a quest to find out everything he can about Dora and why, at the height of German reprisals, she ran away on a bitterly cold day from the people hiding her. He finds only one other official mention of her name on a list of Jews deported from Paris to Auschwitz in September 1942. With no knowledge of Dora Bruder aside from these two records, Modiano continues to dig for fragments from Dora's past. What little he discovers in official records and through remaining family members, becomes a meditation on the immense losses of the period—lost people, lost stories, and lost history. Modiano delivers a moving account of the ten-year investigation that took him back to the sights and sounds of Paris under the Nazi Occupation, and the paranoia of the Pétain regime as he tries to find connections to Dora. In his efforts to exhume her from the past, Modiano realizes that he must come to terms with the specters of his own troubled adolescence. The result, a montage of creative and historical material, is Modiano's personal rumination on loss, both memoir and memorial.

    Written in 1943, this book was written as an act of revenge against the woman who nearly destroyed the author's life with the celebrated philosopher, Jean Paul Sartre.

    As a group they are very resourceful, but they do occasionally get a helping hand from a mysterious, unknown benefactor. This book closes the legend of Captain Nemo, the hero from Twenty Thousand Leagus Under the Sea.Excerpt:"It was now two years and a half since the castaways from the balloon had been thrown on Lincoln Island, and during that period there had been no communication between them and their fellow-creatures. Once the reporter had attempted to communicate with the inhabited world by confiding to a bird a letter which contained the secret of their situation, but that was a chance on which it was impossible to reckon seriously. Ayrton, alone, under the circumstances which have been related, had come to join the little colony. Now, suddenly, on this day, the 17th of October, other men had unexpectedly appeared in sight of the island, on that deserted sea!"

    She had fled home, had escaped like a wounded animal, wounded in fact most deeply by those words which she ceaselessly repeated to get all their sense and bearing: "You know very well that there can be no question of marriage between us--but only of love."

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