The mother of two—confident, beautiful teenage Hortense and shy, babyish Zoé—is forced to maintain a stable family life while making ends meet on her meager salary as a medieval history scholar. Meanwhile, Joséphine’s charismatic sister Iris seems to have it all—a wealthy husband, gorgeous looks, and a très chic Paris address—but she dreams of bringing meaning back into her life. When Iris charms a famous publisher into offering her a lucrative deal for a twelfth-century romance, she offers her sister a deal of her own: Joséphine will write the novel and pocket all the proceeds, but the book will be published under Iris’s name. All is well—that is, until the book becomes the literary sensation of the season.

    The story of the Cornish knight and the Irish princess who meet by deception, fall in love by magic, and pursue that love in defiance of heavenly and earthly law has inspired artists from Matthew Arnold to Richard Wagner. But nowhere has it been retold with greater eloquence and dignity than in Joseph Bédier’s edition, which weaves several medieval sources into a seamless whole, elegantly translated by Hilaire Belloc and Paul Rosenfeld.

    In the sixteenth century, the Protestant Reformation launched an attack on privilege and the Catholic Church, but it rapidly became an established, bourgeois authority itself. Rural laborers and the urban poor, who were still being promised equality in heaven, began to question why they shouldn’t have equality here and now on earth.There ensued a furious struggle between the powerful—the comfortable Protestants—and the others, the wretched. They were led by a number of theologians, one of whom has left his mark on history through his determination and sheer energy. His name was Thomas Müntzer, and he set Germany on fire. The War of the Poor recounts his story—that of an insurrection through the Word.In his characteristically bold, cinematic style, Éric Vuillard draws insights from this revolt from nearly five hundred years ago, which remains shockingly relevant to the dire inequalities we face today.

    Now she’s set her eyes on a backwater burg—where, while posing as an innocent (albeit drop-dead gorgeous) newcomer to town, she means to sniff out old grudges and engineer new opportunities, deftly playing different people and different interests against each other the better, as always, to make a killing. But then something snaps: the master manipulator falls prey to a pure and wayward passion.Aimée has become the avenging angel of her own nihilism, exacting the destruction of a whole society of destroyers. An unholy original, Jean-Patrick Manchette transformed the modern detective novel into a weapon of gleeful satire and anarchic fun. In Fatale he mixes equal measures of farce, mayhem, and madness to prepare a rare literary cocktail that packs a devastating punch.

    publication of Simon Watson Taylor's authoritative translation, completed after consultations with the author. Unconventional in form--Aragon consciously avoided recognizable narration or character development--Paris Peasant is, in the author's words, -a mythology of the modern.- The book uses the city of Paris as a stage, or framework, and Aragon interweaves his text with images of related ephemera: cafe menus, maps, inscriptions on monuments and newspaper clippings. A detailed description of a Parisian arcade (nineteenth-century precursor to the mini-mall) and another of the Buttes-Chaumont park, are among the great set pieces within Aragon's swirling prose of philosophy, dream and satire. Andre Breton wrote of this work: -no one could have been a more astute detector of the unwonted in all its forms; no one else could have been carried away by such intoxicating reveries about a sort of secret life of the city. . . .-

    In this evocative poetic narrative the quest to breathe life into the stories of these individuals becomes an exploration of the author's own voice. Michon does not deny the autobiographical nature of this haunting and seminal work, which only serves to heighten and empower the writing.

    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.

    'A work of genius ... jaw-dropping' Daily Express.Ends with one of the most reverberating shocks in modern crime fiction' Sunday TimesThis is the story of thirteen days that begin with one murder and end with another. Jérôme Morval, a man whose passion for art was matched only by his passion for women, has been found dead in the stream that runs through the gardens at Giverny, where Monet did his famous paintings. In Jérôme's pocket is a postcard of Monet's Water Lilies with the words: Eleven years old. Happy Birthday. Entangled in the mystery are three women: a young painting prodigy, the seductive village schoolteacher and an old widow who watches over the village from a mill by the stream. All three of them share a secret. But what do they know about the discovery of Jérôme Morval's corpse? And what is the connection to the mysterious Black Water Lilies, a rumoured masterpiece by Monet that has never been found...'This elegant crime mystery shimmers as delicately as the paintings of Claude Monet that lie at its heart . . . A bestseller in France, it is a dazzling, unexpected and haunting masterpiece' Daily MailAn enchanting tale that kept me absolutely hooked as Bussi cleverly breaks all the perceived rules of plotting in a story containing riddles within riddles . . . stunning' Daily Express

    Few works of contemporary literature have been so universally acclaimed as central to their time and to our understanding of the human experience.

    Set in a poor village in Henan province, it is a deeply moving and beautifully written account of a blood-selling ring in contemporary China. Based on a real-life blood-selling scandal in eastern China, Dream of Ding Village is the result of three years of undercover work by Yan Lianke, who worked as an assistant to a well-known Beijing anthropologist in an effort to study a small village decimated by HIV/AIDS as a result of unregulated blood selling. Whole villages were wiped out with no responsibility taken or reparations paid. Dream of Ding Village focuses on one family, destroyed when one son rises to the top of the Party pile as he exploits the situation, while another son is infected and dies. The result is a passionate and steely critique of the rate at which China is developing and what happens to those who get in the way.

    Heir to an immense aristocratic fortune, mental and physical mutant Moravagine is a monster, a man in pursuit of a theorem that will justify his every desire. Released from a hospital for the criminally insane by his starstruck psychiatrist (the narrator of the book), who foresees a companionship in crime that will also be an unprecedented scientific collaboration, Moravagine travels from Moscow to San Antonio to deepest Amazonia, engaged in schemes and scams as, among other things, terrorist, speculator, gold prospector, and pilot. He also enjoys a busy sideline in rape and murder. At last, the two friends return to Europe—just in time for World War I, when "the whole world was doing a Moravagine."This new edition of Cendrars's underground classic is the first in English to include the author's afterword, "How I Wrote Moravagine."

    Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    Soon his superior reveals that the firm houses the activities of a secret organization, the Consortium for the Falsification of Reality, which rewrites history and falsifies the world as we know it. Who runs the CFR and for what purpose? That’s what Sliv sets out to discover. His only chance: rise all the way to the top in record time.The Falsifiers, a European best-seller, is the first installment of a trilogy. It is followed by The Pathfinders and The Showrunners.

    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.

    The bomb is timed to explode after work hours, so no one will be hurt. But the authorities have been watching. He is caught, the bomb is defused, and he is tortured, tried in a day, condemned to death, and thrown into a cell to await the guillotine. A routine event, perhaps, in a brutal conflict that ended the lives of more than a million Muslim Algerians.But what if the militant is a “pied-noir”? What if his lover was a member of the French Resistance? What happens to a “European” who chooses the side of anti-colonialism?By turns lyrical, meditative, and heart-stoppingly suspenseful, this novel by Joseph Andras, based on a true story, was a literary and political sensation in France, winning the Prix Goncourt for First Novel and being acclaimed by Le Monde as “vibrantly lyrical and somber” and by the journal La Croix as a “masterpiece”.