When she reconnects with her childhood friend Clare Kendry, who is similarly light-skinned, Irene discovers that Clare has been passing for a white woman after severing ties to her past--even hiding the truth from her racist husband.Clare finds herself drawn to Irene's sense of ease and security with her Black identity and longs for the community (and, increasingly, the woman) she lost. Irene is both riveted and repulsed by Clare and her dangerous secret, as Clare begins to insert herself--and her deception--into every part of Irene's stable existence. First published in 1929, Larsen's brilliant examination of the various ways in which we all seek to "pass," is as timely as ever.

    To survive, he must find a deep strength greater than all the events that surround him.Shanghai, 1941 — a city aflame from the fateful torch of Pearl Harbor. In streets full of chaos and corpses, a young British boy searches in vain for his parents. Imprisoned in a Japanese concentration camp, he is witness to the fierce white flash of Nagasaki, as the bomb bellows the end of the war...and the dawn of a blighted world.Ballard's enduring novel of war and deprivation, internment camps and death marches, and starvation and survival is an honest coming-of-age tale set in a world thrown utterly out of joint.

    A harrowing story that follows the wanderings of a boy abandoned by his parents during World War II, The Painted Bird is a dark novel that examines the proximity of terror and savagery to innocence and love.

    Yet the novel is much more. Written in sparse prose that is shockingly clear—the descriptions of electronic treatments are particularly harrowing—it combines real-life characters and events with fictional ones in a work that examines the insanity of war like no other. Barker also weaves in issues of class and politics in this compactly powerful book. Other books in the series include The Eye in the Door and the Booker Award winner The Ghost Road.

    tell them that all the ideals and beliefs you ever had have crashed about your gun-deafened ears... and they will reply on pale mauve deckle-edged paper calling you a silly hysterical little girl."These are the thoughts of Helen Smith, one of "England's Splendid Daughters", an ambulance driver at the French front. Working all hours of the day and night, witness to the terrible wreckage of war, her firsthand experience contrasts sharply with her altruistic expectations. And one of her most painful realisations is that those like her parents, who preen themselves on visions of glory, have no concept of the devastation she lives with and no wish for their illusions to be shaken.

    And before long The Wave, with its rules of "strength through discipline, community, and action", sweeps from the classroom through the entire school. And as most of the students join the movement, Laurie Saunders and David Collins recognize the frightening momentum of The Wave and realize they must stop it before it's too late.

    In this page-turning novel, David Gillham explores what happens to ordinary people thrust into extraordinary times, and how the choices they make can be the difference between life and death.It is 1943 - the height of the Second World War - and Berlin has essentially become a city of women. Sigrid Schröder is, for all intents and purposes, the model German soldier's wife: She goes to work every day, does as much with her rations as she can, and dutifully cares for her meddling mother-in-law, all the while ignoring the horrific immoralities of the regime. But behind this façade is an entirely different Sigrid, a woman who dreams of her former lover, now lost in the chaos of the war. Her lover is a Jew. But Sigrid is not the only one with secrets. A high ranking SS officer and his family move down the hall and Sigrid finds herself pulled into their orbit. A young woman doing her duty-year is out of excuses before Sigrid can even ask her any questions. And then there's the blind man selling pencils on the corner, whose eyes Sigrid can feel following her from behind the darkness of his goggles. Soon Sigrid is embroiled in a world she knew nothing about, and as her eyes open to the reality around her, the carefully constructed fortress of solitude she has built over the years begins to collapse. She must choose to act on what is right and what is wrong, and what falls somewhere in the shadows between the two. In this page-turning novel, David Gillham explores what happens to ordinary people thrust into extraordinary times, and how the choices they make can be the difference between life and death.

    His only request of his daughter is to go through the long-forgotten box of memorabilia from his days as a medic on the western front. Then, among his wartime souvenirs, Beth finds a photograph of her father with an adoring and beautiful stranger—a photograph worth a thousand questions.It was 1944 when Max was drawn into the underground resistance by the fearless German wife of a Nazi officer. Together, she and Max were willing to risk everything for what they believed was right. Ahead of them lay a dangerous romance, a dream of escape, and a destiny over which neither had control.But Max isn’t alone in his haunting remembrances of war. In a nearby private care home is a fragile German-born woman with her own past to share. Only when the two women meet does Beth realize how much more to her father there is to know, all the ways in which his heart still breaks, and the closure he needs to heal it.

    Provocative, stylish, and emotionally resonant, A Heart of Stone (her first book to be translated into English) is certain to cause a sensation on the international scene and Viking is proud to introduce her to the American public. This beautifully woven masterpiece, spare yet richly told, plumbs the undercurrents of family life and tragedy in a startling and wise story of love, fate, and survival. Ellen Van Bemmel lives with her parents, who run an American news-clipping service, and her three siblings in an old Dutch house in a suburb of Amsterdam. Ellen's idyllic childhood is suffused with Americana, both the frivolous fringes like potato chips and Coca-Cola as well as milestones like Neil Armstrong's first steps on the moon, until family disaster strikes on her twelfth birthday. From that moment on her world begins to unravel. Years later, Ellen plunges us into the past as she leafs through a faded photo album and confronts the literal and figurative ghosts of her childhood. Seamlessly alternating the past and present, taut with Hitchcockian tension and warmed by a redemptive love story, A Heart of Stone tells a darkly humorous, yet ultimately compassionate tale.

    But in 1954 a local fisherman is found suspiciously drowned, and a Japanese American named Kabuo Miyamoto is charged with his murder. In the course of the ensuing trial, it becomes clear that what is at stake is more than a man's guilt. For on San Pedro, memories of a charmed love affair between a white boy and the Japanese girl who grew up to become Kabuo's wife; memories of land desired, paid for, and lost. Above all, San Piedro is haunted by the memory of what happened to its Japanese residents during World War II, when an entire community was sent into exile while its neighbors watched.

    One should not be surprised, I suppose, that it has remained vital, and immediate, for that is the nature of story. And this is particularly true of the oral tradition, which exists in a dimension of timelessness. I was first told these stories by my father when I was a child. I do not know how long they had existed before I heard them. They seem to proceed from a place of origin as old as the earth."The stories in The Way to Rainy Mountain are told in three voices. The first voice is the voice of my father, the ancestral voice, and the voice of the Kiowa oral tradition. The second is the voice of historical commentary. And the third is that of personal reminiscence, my own voice. There is a turning and returning of myth, history, and memoir throughout, a narrative wheel that is as sacred as language itself." —From the new Preface

    A family torn apart. A decision that could change everything.Berlin, 1939. Fourteen year old Simon Horowitz is awash in a world of music. His family owns a superb collection of instruments and at its heart is his father's 1742 Guarneri de Gesu violin. But all is lost when the Nazis march across Europe and Simon and his father and brother are sent to Dachau. Amid unimaginable cruelty and death, Simon finds kindness from an unexpected corner, and a chance to pick up a violin again and a chance to live.In the present day, orchestra conductor Rafael Gomez has seen much in his time on the world's stage, but he finds himself oddly inspired by the playing of an aspiring violin virtuoso, a fantastic talent who is only just fourteen. Then the boy, Daniel Horowitz, suddenly refuses to play another note, and Rafael knows he'll do anything he can to change that. When he learns the boy's family once owned a precious violin, believed to have been lost forever, Rafael thinks he might know exactly how to get Daniel playing again. In taking on the task he discovers a family story like no other that winds from World War II and Communist Russia all the way to Rafael's very own stage.

    It was the same piece and the same pianist, when broadcasting was resumed six years later. The Pianist is Szpilman's account of the years inbetween, of the death and cruelty inflicted on the Jews of Warsaw and on Warsaw itself, related with a dispassionate restraint borne of shock. Szpilman, now 88, has not looked at his description since he wrote it in 1946 (the same time as Primo Levi's If This Is A Man?; it is too personally painful. The rest of us have no such excuse. Szpilman's family were deported to Treblinka, where they were exterminated; he survived only because a music-loving policeman recognised him. This was only the first in a series of fatefully lucky escapes that littered his life as he hid among the rubble and corpses of the Warsaw Ghetto, growing thinner and hungrier, yet condemned to live. Ironically it was a German officer, Wilm Hosenfeld, who saved Szpilman's life by bringing food and an eiderdown to the derelict ruin where he discovered him. Hosenfeld died seven years later in a Stalingrad labour camp, but portions of his diary, reprinted here, tell of his outraged incomprehension of the madness and evil he witnessed, thereby establishing an effective counterpoint to ground the nightmarish vision of the pianist in a desperate reality. Szpilman originally published his account in Poland in 1946, but it was almost immediately withdrawn by Stalin's Polish minions as it unashamedly described collaborations by Lithuanians, Ukrainians, Poles and Jews with the Nazis. In 1997 it was published in Germany after Szpilman's son found it on his father's bookcase. This admirably robust translation by Anthea Bell is the first in the English language. There were 3,500,000 Jews in Poland before the Nazi occupation; after it there were 240,000. Wladyslaw Szpilman's extraordinary account of his own miraculous survival offers a voice across the years for the faceless millions who lost their lives. --David Vincent

    Not since The Diary of Anne Frank has a young voice so vividly expressed the capacity for humanity and heroism in the face of Nazi brutality.

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.