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.

    The other guests soon become obsessed with the man, the equivocal unsettling Allan. One by one they realise who he is-that Death has come to spend the summer with them. Amid the ceaseless thunder of the waves, the wild and often surreal Breton landscape, the group that gravitates around Allan-an uncannily contemporary figure-gradually disintegrates. His death seems to symbolize the end of a generation, the approach of war.That Gracq wrote this oblique, prescient novel in a remote German prisoner-of-war camp makes its carefree jazz age setting particularly poignant.

    Yet along with the full-length fiction within The Human Comedy stand many shorter works, among the most brilliant and forceful of his fictions. Drawn always to the tradition of oral storytelling—to the human voice telling of experience—and to the kinds of reactions produced in the listeners to stories, Balzac repeatedly dramatizes both telling and listening, and the interactions of men and women around the story told. It’s in the short fiction that we get some of his most daring explorations of crime, sexuality, and artistic creation. As Marcel Proust noted, it is in these tales that we detect, under the surface, the mysterious circulation of blood and desire. Included here are tales of artists, of the moneylender who controls the lives of others, of passion in the desert sands and in the drawing rooms of Parisian duchesses, episodes of madness and psychotherapy, the uncovering of fortunes derived from crime and from castration. And stories about the creation of story, the need to transmit experience. All are newly translated by three outstanding translators who restore the freshness of Balzac’s vivid and highly colored prose.SARRASINEGOBSECKADIEUZ. MARCASA PASSION IN THE DESERTTHE DUCHESS OF LANGEAISTHE RED INNFACINO CANEANOTHER STUDY OF WOMANKIND

    This collection of horror stories, many previously unpublished, includes "The Medusa," "Conversations in a Dead Language," and "Mad Night of Atonement." By the author of Grimscribe.

    Macabre, unsettling and deliciously enjoyable, these stories make the perfect bedtime read – but be warned, once you've started reading you won't be able to stop . .

    Sade's villains will stop at nothing to satisfy their depraved passions, and they in turn suffer under the thrall of love. This is the most complete selection from the Marquis de Sade's four-volume collection of short stories, The Crimes of Love. David Coward's vibrant new translation captures the verve of the original, and his introduction and notes describe Sade's notorious career. This new selection includes An Essay on Novels, Sade's penetrating survey of the novelist's art. It also contains the preface to the collection and an important statement of Sade's concept of fiction and one of the few literary manifestoes published during the Revolution. Appendices include the denunciatory review of the collection that it received on publication, and Diderot's vigorous response. A skilled and artful story-teller, Marquis de Sade's is also an intellectual who asks questions about society, about ourselves, and about life. Psychologically astute and defiantly unconventional, these stories show Sade at his best.

    It's something of an underground classic, rediscovered by each new generation. Most recently, the Icelandic pop singer Björk Guðdmundsdóttir cites Story of the Eye as a major inspiration: she made a music video that alludes to Bataille's erotic uses of eggs, and she plans to read an excerpt for an album.Warning: Story of the Eye is graphically sexual, and is only suited for adults who are not easily offended.

    This extraordinary trove, undiscovered until the 1940s and here translated for the first time into English, is the work of the mysterious Félix Fénéon. Dandy, anarchist, and critic of genius, the discoverer of Georges Seurat and the first French publisher of James Joyce, Fénéon carefully maintained his own anonymity, toiling for years as an obscure clerk in the French War Department. Novels in Three Lines is his secret chef-d’oeuvre, a work of strange and singular art that brings back the long-ago year of 1906 with the haunting immediacy of a photograph while looking forward to such disparate works as Walter Benjamin’s Arcades Project and the Death and Disaster series of Andy Warhol.

    Described here are the emotionally disturbed architectural plan for a palace of emptiness; the experience of snowfall in a bed in the middle of a Finnish forest; the memory chambers that fuel the marvelous futility of the endeavor to write; the beautiful woodland church, built of warm air currents and fog, scattering in storms and taking renewed shape at dusk, that gives this book its title. The Cathedral of Mist offers the sort of ethereal narratives that might have come from the pen of a sorrowful, distinctly Belgian Italo Calvino. It is accompanied by two meditative essays on reading and writing that fall in the tradition of Marcel Proust and Julien Gracq. Paul Willems (1912-97) published his first novel, Everything Here Is Real, in 1941. Three more novels and, toward the end of his life, two collections of short stories bracketed his career as a playwright.

    In An Attempt at Exhausting a Place in Paris, Perec compiled a melancholic, slightly eerie and oddly touching document in which existence boils down to rhythm, writing turns into time and the line between the empirical and the surreal grows surprisingly thin.

    Since its publication in 1895, The King in Yellow has inspired other horror-genre writers including H. P. Lovecraft, and the text is referenced by many works of fiction, in music, and by the hit television series True Detective, starring Matthew McConaughey and Woody Harrelson. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library_We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

    The Book of Sand was the last of Borges' major collections to be published. The stories are, in his words, 'variations on favourite themes...combining a plain and at times almost colloquial style with a fantastic plot'. It includes such marvellous tales as "The Congress", "Undr" and "The Mirror and the Mask". Also included are the handful of stories written right at the end of Borges' life - "August 25, 1983", "Blue Tigers", "The Rose of Paracelsus" and "Shakespeare's Memory".

    The seven stories are all concerned with love, or rather with the complex erotic games and stratagems employed by women and especially men as they try to come to terms with needs and impulses that can start a terrifying train of events. Sexual attraction is shown as a game that often turns sour, an experience that brings with it painful insights and releases uncertainty, panic, vanity and a constant need for reassurance. Thus a young couple on holiday start a game of pretence that threatens to destroy their relationship, two middle-aged men go in search of girls they don't really want, a young man renews contact with an older woman who feels humiliated by her ageing body, an elderly doctor uses his beautiful wife to increase his attraction and minister to his sexual vanity. In Laughable Loves, Milan Kundera shows himself, once again, as a master of fiction's most graceful illusions and surprises.

    In this brilliant translation by Matvei Yankelevich, English-language readers now have a comprehensive collection of the prose and poetry that secured Kharms s literary reputation a reputation that grew in Russia even as the Soviet establishment worked to suppress it.A master of formally inventive poetry and what today would be called micro-fiction, Kharms built off the legacy of Russian Futurist writers to create a uniquely deadpan style written out of and in spite of the absurdities of life in Stalinist Russia. Featuring the acclaimed novella The Old Woman and darkly humorous short prose sequence Events (Sluchai), Today I Wrote Nothing also includes dozens of short prose pieces, plays, and poems long admired in Russia, but never before available in English. A major contribution for American readers and students of Russian literature and an exciting discovery for fans of contemporary writers as eclectic as George Saunders, John Ashbery, and Martin McDonagh, Today I Wrote Nothing is an invaluable collection for readers of innovative writing everywhere.About the EditorMATVEI YANKELEVICH is also a co-translator of Oberiu: An Anthology of Russian Absurdism (2006). His translation of the Vladimir Mayakovsky's poem "Cloud in Pants" appears in Night Wraps the Sky: Writings by and About Mayakovsky. He is the author of a long poem, The Present Work, and his writing has appeared in Fence, Open City, and many other literary journals. He teaches Russian Literature at Hunter College in New York City and edits the Eastern European Poets Series at Ugly Duckling Press in Brooklyn.

    In the Bardo, souls wander for forty-nine days before being reborn, helped along on their journey by the teachings of the Book of the Dead.Unfortunately, Volodine's characters bungle their chances at enlightenment, with the recently dead choosing to waste away their afterlife sleeping, or choosing to be reborn as an insignificant spider. The still-living aren't much better off, making a mess of things in their own ways, such as erroneously reciting a Tibetan cookbook to a lost comrade instead of the holy book.Once again, Volodine has demonstrated his range and ambition, crafting a moving, hysterical work about transformations and the power of the book.