His best-known work tells the tale of Rubashov, a Bolshevik 1917 revolutionary who is cast out, imprisoned and tried for treason by the Soviet government he'd helped create.Darkness at Noon stands as an unequaled fictional portrayal of the nightmare politics of our time. Its hero is an aging revolutionary, imprisoned and psychologically tortured by the Party to which he has dedicated his life. As the pressure to confess preposterous crimes increases, he relives a career that embodies the terrible ironies and human betrayals of a totalitarian movement masking itself as an instrument of deliverance. Almost unbearably vivid in its depiction of one man's solitary agony, it asks questions about ends and means that have relevance not only for the past but for the perilous present. It is —- as the Times Literary Supplement has declared —- "A remarkable book, a grimly fascinating interpretation of the logic of the Russian Revolution, indeed of all revolutionary dictatorships, and at the same time a tense and subtly intellectualized drama."

    Barabbas is a man condemned to have no god. "Christos Iesus" is carved on the disk suspended from his neck, but he cannot affirm his faith. He cannot pray. He can only say, "I want to believe."Translated from Swedish by Alan Blair.

    As macabre as a Jacobean tragedy, as frivolous as a Restoration comedy, Iris Murdoch's fifth novel takes sombre themes - adultery, incest, castration, violence and suicide - and yet succeeds in making of them a book that is brilliantly enjoyable.

    His extravagant and hopeless undertakings, his brushes with the law and scrapes with death, and his enduring friendships and unlooked-for love affairs make him a Don Quixote for our day, driven from one place to another by a restless and irregular quest for the absolute. Álvaro Mutis's seven dazzling chronicles of the adventures and misadventures of Maqroll have won him numerous honors and a passionately devoted readership throughout the world. Here for the first time in English all these wonderful stories appear in a single volume in Edith Grossman's prize-winning translation.

    In On the Edge of Reason, his protagonist is a middle-aged lawyer whose life and career have been eminently respectable and respected. One evening, at a party attended by the local elite, he inadvertently blurts out an honest thought. From this moment, all hell breaks loose.... On the Edge of Reason reveals the fundamental chasm between conformity and individuality. As folly piles on folly, hypocrisy on hypocrisy, reason itself begins to give way, and the edge between reality and unreality disappears.--back cover

    Jewish shops have been ransacked and looted, synagogues destroyed. As storm troopers pound on his door, Otto Silbermann, a respected businessman who fought for Germany in the Great War, is forced to sneak out the back of his own home. Turned away from establishments he had long patronized, and fearful of being exposed as a Jew despite his Aryan looks, he boards a train.And then another. And another . . . until his flight becomes a frantic odyssey across Germany, as he searches first for information, then for help, and finally for escape. His travels bring him face-to-face with waiters and conductors, officials and fellow outcasts, seductive women and vicious thieves, a few of whom disapprove of the regime while the rest embrace it wholeheartedly.Clinging to his existence as it was just days before, Silbermann refuses to believe what is happening even as he is beset by opportunists, betrayed by associates, and bereft of family, friends, and fortune. As his world collapses around him, he is forced to concede that his nightmare is all too real.Twenty-three-year-old Ulrich Boschwitz wrote The Passenger at breakneck speed in 1938, fresh in the wake of the Kristallnacht pogroms, and his prose flies at the same pace. Taut, immediate, infused with acerbic Kafkaesque humor, The Passenger is an indelible portrait of a man and a society careening out of control.

    Two young men meet by chance in a Polish resort town in the Carpathian Mountains. Intending to spend their vacation relaxing, they find a secluded family-run pension. But the two become embroiled first in a macabre event on the way to the pension, then in the peculiar activities and psychological travails of the family running it. Gombrowicz offers no solution to their predicament.Cosmos is translated here for the first time directly from the Polish by Danuta Borchardt, translator of Ferdydurke.

    A major hit in Germany that went on to become one of Europe’s biggest literary blockbusters in the last five years, Night Train to Lisbon is an astonishing novel, a compelling exploration of consciousness, the possibility of truly understanding another person, and the ability of language to define our very selves. Raimund Gregorius is a Latin teacher at a Swiss college who one day—after a chance encounter with a mysterious Portuguese woman—abandons his old life to start a new one. He takes the night train to Lisbon and carries with him a book by Amadeu de Prado, a (fictional) Portuguese doctor and essayist whose writings explore the ideas of loneliness, mortality, death, friendship, love, and loyalty. Gregorius becomes obsessed by what he reads and restlessly struggles to comprehend the life of the author. His investigations lead him all over the city of Lisbon, as he speaks to those who were entangled in Prado’s life. Gradually, the picture of an extraordinary man emerges—a doctor and poet who rebelled against Salazar’s dictatorship.

    The narrator, an anonymous graduate student, sets off on the trail of a French novelist named Paul Michel, who is currently confined to an asylum. Engineering his hero's release, the narrator finds himself enmeshed in bizarre love triangle, of which the three vertices are himself, the novelist, and the late Michel Foucault. Sex, it seems, can be made safe, but the oddball intimacy of reading cannot.

    Lawrence’s The Fox is a captivating work exploring the dual themes of power and supremacy in the aftermath of the First World War. Banford and March live and work together on their meager farm, surviving hardship only by sheer determination and dedicated labor. The farm is their world, a place of safety—that is, until a young soldier walks in and upsets the women’s delicate status quo. None could have predicted the effect his presence would have on their lives.

    The story relates the formative experiences of Vadim at school and with women before he turns to drug abuse and the philosophical reflections to which it gives rise. Although Ageyev makes little explicit reference to the Revolution, the novel's obsession with addictive forms of thinking finds resonance in the historical background, in which "our inborn feelings of humanity and justice" provoke "the cruelties and satanic transgressions committed in its name.

    Her everywoman heroine, Sasha, must confront the loves— and losses— of her past in this mesmerizing and formally daring psychological portrait.

    In it, Marguerite Yourcenar reimagines the Emperor Hadrian's arduous boyhood, his triumphs and reversals, and finally, as emperor, his gradual reordering of a war-torn world, writing with the imaginative insight of a great writer of the twentieth century while crafting a prose style as elegant and precise as those of the Latin stylists of Hadrian's own era.

    The book's unnamed narrator, growing up during the 1950s, is beset by aloof parents, a cruel sister, and relentless mocking from his peers, compelling him to seek out works of art and literature as solace-and to uncover new relationships in the struggle to embrace his own sexuality. Lyrical and poignant, with powerful evocations of shame and yearning, this is an American literary treasure.

    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.