The desertion triggers a searing re-examination of his life—the loss of his sister during the war, the demands of his millionaire father and the hypocrisies of his mother, who first fought to “save” Germany from the Jews, then worked for “reconciliation” afterwards.

    The play begins in 1977, with a meeting between adulterous lovers, Emma and Jerry, two years after their affair has ended. During the nine scenes of the play, we move back in time, through the states of their affair, with the play ending in the house of Emma and Robert, her husband, who is Jerry's best friend.The classic dramatic scenario of the love triangle is manifest in a mediation on the themes of marital infidelity, duplicity, and self-deception. Pinter writes a world that simultaneously glorifies and debases love.

    This translation of his 1989 novel Nostalgia, writes Andrei Codrescu, "introduces to English a writer who has always had a place reserved for him in a constellation that includes the Brothers Grimm, Franz Kafka, Jorge Luis Borges, Bruno Schulz, Julio Cortazar, Gabriel Garcia Marquez, Milan Kundera, and Milorad Pavic, to mention just a few." Like most of his literary contemporaries of the avant-garde Eighties Generation, his major work has been translated into several European languages, with the notable exception, until now, of English.Readers opening the pages of Nostalgia should brace themselves for a verbal tidal wave of the imagination that will wash away previous ideas of what a novel is or ought to be. Although each of its five chapters is separate and stands alone, a thematic, even mesmeric harmony finds itself in children's games, the music of the spheres, humankind's primordial myth-making, the origins of the universe, and in the dilapidated tenement blocks of an apocalyptic Bucharest during the years of communist dictatorship.

    It's a black comedy set in San Francisco in 1942. The central character, C. Card, is no Sam Spade, but actually does do detective work of a sort, when he's not off dreaming of Babylon.

    Students Susan and Larry find themselves as guests enticed to the Brabissant mansion by it's dissolute caretakers the lonely Mackeys. Struck by Susan's strong resemblance to Veronica Brabissant, long- dead daughter of the family for whom they work, the o

    Gerardo Escobar has just been chosen to head the commission that will investigate the crimes of the old regime when his car breaks down and he is picked up by the humane doctor Roberto Miranda. But in the voice of this good Samaritan, Gerardo's wife, Paulina Salas, thinks she recognizes another man—the one who raped and tortured her as she lay blindfolded in a military detention center years before.

    Spending his days walking the streets and his nights drinking and gambling, meeting revolutionaries, zealots, lovers and libertines, he adjusts his eyes to the darkness that falls over Europe, and threatens to destroy him. Mihail Sebastian's 1934 masterpiece, now translated into English for the first time, was written amid the anti-Semitism which would, by the end of the decade, force him out of his career and turn his friends and colleagues against him. For Two Thousand Years is a prescient, heart-wrenching chronicle of resilience and despair, broken layers of memory and the terrible forces of history.

    It demonstrates a commitment to surrealistic aesthetics, and has a clear lack of an obvious plot, minimal development of character, variations of time sequence, and experiments with vocabulary and punctuation.

    More than a tale of possession, the novel probes disturbing depths of guilt, paranoia, and sexual obsession with an unsparing detachment.

    Nihilism & individualism brought to the foreground thru the eyes of Russian intellectualism. The Possessed is Albert Camus' last work. He died 1/4/1960. It's considered one of his finest achievements.

    His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The result, both performable and readable, has been thoroughly revised for this edition, which is introduced by Christopher Maurer, general editor of the Complete Poetical Works of García Lorca.

    Dumas's subtle and moving portrait of a woman in love is based on his own love affair with one of the most desirable courtesans in Paris. This is a completely new translation commissioned for the World's Classics.

    She has decided he is the father.And so begins a comedy in which, during five madcap days, events unfold with ever-increasing speed. Klima's beautiful, jealous wife; the nurse's equally jealous boyfriend; a fanatical gynecologist; a rich American, at once Don Juan and saint; and an elderly political prisoner who, just before his emigration, is holding a farewell party at the spa, are all drawn into this black comedy, as in A Midsummer Night's Dream.As usual, Milan Kundera poses serious questions with a blasphemous lightness which makes us understand that the modern world has taken away our right to tragedy.

    Hector is very good at treating patients in need of his help. But he can't do much for those who are simply dissatisfied with life, and that is beginning to depress him. When a patient tells him he looks in need of a vacation, Hector takes a trip around the world to learn what makes people happy—and sad. As he travels from Paris to China to Africa to the United States, he lists his observations about the people he meets. Is there a secret to happiness, and will Hector find it? Combining the winsome appeal of The Little Prince with the inspiring philosophy of The Alchemist, Hector's journey ventures around the globe and into the human soul. Lelord's writing inspires us to consider life's great questions. Uplifting, empowering, and optimistic, this is a fable for our times and all time.

    Ivanov, a young estate owner, is too intelligent and too bored to endure his provincial life. He is a "superfluous man," attracted to a beautiful young woman who threatens his moral foundations and leads him ultimately to tragedy. This new translation beautifully captures Chekhov's dialogue for modern audiences.