A fiercely patriotic secular Jew, Pavel Bauer is helpless to prevent his world from unraveling as first his government, then his business partners, then his neighbors turn their back on his affluent, once-beloved family. Only the Bauers' adoring governess, Marta, sticks by Pavel, his wife, Anneliese, and their little son, Pepik, bound by her deep affection for her employers and friends. But when Marta learns of their impending betrayal at the hands of her lover, Ernst, Pavel's best friend, she is paralyzed by her own fear of discovery—even as the endangered family for whom she cares so deeply struggles with the most difficult decision of their lives.Interwoven with a present-day narrative that gradually reveals the fate of the Bauer family during and after the war, Far to Go is a riveting family epic, love story, and psychological drama.

    During this war a great Avar chieftain, Hadji Murád, broke with the Chechen leader Shamil and fled to the Russians for safety. Months later, while attempting to rescue his family from Shamil’s prison, Hadji Murád was pursued by those he had betrayed and, after fighting the most heroic battle of his life, was killed.Tolstoy, witness to many of the events leading to Hadji Murád’s death, set down this story with painstaking accuracy to preserve for future generations the horror, nobility, and destruction inherent in war.

    Set against the looming horrors of the battlefield - the weary, demoralized men marching in the rain during the German attack on Caporetto; the profound struggle between loyalty and desertion—this gripping, semiautobiographical work captures the harsh realities of war and the pain of lovers caught in its inexorable sweep. Ernest Hemingway famously said that he rewrote his ending to A Farewell to Arms thirty-nine times to get the words right.

    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.

    Jefferson, a young black man, is an unwitting party to a liquor store shoot out in which three men are killed; the only survivor, he is convicted of murder and sentenced to death. Grant Wiggins, who left his hometown for the university, has returned to the plantation school to teach. As he struggles with his decision whether to stay or escape to another state, his aunt and Jefferson's godmother persuade him to visit Jefferson in his cell and impart his learning and his pride to Jefferson before his death. In the end, the two men forge a bond as they both come to understand the simple heroism of resisting and defying the expected. Ernest J. Gaines brings to this novel the same rich sense of place, the same deep understanding of the human psyche, and the same compassion for a people and their struggle that have informed his previous, highly praised works of fiction.

    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.

    The popular image of the men who made the bomb is of dispassionate intellects who number-crunched their way towards a weapon whose devastating power they could not even imagine. But in his Tony Award-winning play Copenhagen, Michael Frayn shows us that these men were passionate, philosophical, and all too human, even though one of the three historical figures in his drama, Werner Heisenberg, was the head of the Nazis' effort to develop a nuclear weapon. The play's other two characters, the Danish physicist Niels Bohr and his wife, Margrethe, are involved with Heisenberg in an after-death analysis of an actual meeting that has long puzzled historians. In 1941, the German scientist visited Bohr, his old mentor and long-time friend, in Copenhagen. After a brief discussion in the Bohrs' home, the two men went for a short walk. What they discussed on that walk, and its implications for both scientists, have long been a mystery, even though both scientists gave (conflicting) accounts in later years. Frayn's cunning conceit is to use the scientific underpinnings of atomic physics, from Schr?dinger's famous cat to the Heisenberg uncertainty principle, to explore how an individual's point of view renders attempts to discover the ultimate truth of any human interaction fundamentally impossible. To Margrethe, Heisenberg was always an untrustworthy student, eager to steal from her husband's knowledge. To Bohr, Heisenberg was a brilliant if irresponsible foster son, whose lack of moral compass was part of his genius. As for Heisenberg, the man who could have built the bomb but somehow failed to, his dilemma is at the heart of the play's conflict. Frayn's clever dramatic structure, which returns repeatedly to particular scenes from different points of view, allows several possible theories as to what his motives could have been. This isn't the first play to successfully merge the world

    Through the Battle of Solferino, to the entombment of the last Hapsburg emperor, Roth's intelligent compassionate narrative illuminates the crumbling of a way of life.

    The members of the Smales family—liberal whites—are rescued from the terror by their servant, July, who leads them to refuge in his village. What happens to the Smaleses and to July—the shifts in character and relationships—gives us an unforgettable look into the terrifying, tacit understandings and misunderstandings between blacks and whites.Nadine Gordimer was a winner of the Nobel Prize in Literature

    Memories of her life still glow in her fading consciousness, but she imagines writing a history of the world. Instead, Moon Tiger is her own history, the life of a strong, independent woman, with its often contentious relations with family and friends. At its center — forever frozen in time, the still point of her turning world — is the cruelly truncated affair with Tom, a British tank commander whom Claudia knew as a reporter in Egypt during World War II.

    Readers of J. M. Coetzee's Disgrace, Bernhard Schlink's The Reader and Kafka will be captivated by Brodeck.Forced into a brutal concentration camp during a great war, Brodeck returns to his village at the war’s end and takes up his old job of writing reports for a governmental bureau. One day a stranger comes to live in the village. His odd manner and habits arouse suspicions: His speech is formal, he takes long, solitary walks, and although he is unfailingly friendly and polite, he reveals nothing about himself. When the stranger produces drawings of the village and its inhabitants that are both unflattering and insightful, the villagers murder him. The authorities who witnessed the killing tell Brodeck to write a report that is essentially a whitewash of the incident. As Brodeck writes the official account, he sets down his version of the truth in a separate, parallel narrative. In measured, evocative prose, he weaves into the story of the stranger his own painful history and the dark secrets the villagers have fiercely kept hidden.

    Encompassing over one hundred years of German history, from the nineteenth century to the Weimar Republic, from World War II to the Socialist German Democratic Republic, and finally reunification and its aftermath, Visitation offers the life stories of twelve individuals who seek to make their home in this one magical little house. The novel breaks into the everyday life of the house and shimmers through it, while relating the passions and fates of its inhabitants. Elegant and poetic, Visitation forms a literary mosaic of the last century, tearing open wounds and offering moments of reconciliation, with its drama and its exquisite evocation of a landscape no political upheaval can truly change.

    Each of the 15 stories offers glimpses into the lives of ordinary Dubliners, and collectively they paint a portrait of a nation.

    In spare, brutal prose he describes a world where where the will to survive overrides compassion and prisoners eat, work and sleep a few yards from where others are murdered; where the difference between human beings is reduced to a second bowl of soup, an extra blanket or the luxury of a pair of shoes with thick soles; and where the line between normality and abnormality vanishes. Published in Poland after the Second World War, these stories constitute a masterwork of world literature.

    Told in short bursts of "Time," the narrative takes the form of a stylized fable, an epic allegory about the inexorable grind of time and the clash between modernity (the masculine) and nature (the feminine) in which Poland's tortured political history from 1914 to the contemporary era and the episodic brutality visited on ordinary village life is played out. A novel of universal dimension that does not dwell on the parochial, Primeval and Other Times was hailed as a contemporary European classic and heralded Tokarczuk as one of the leading voices in Polish as well as world literature.