The grieving family abandons its home and moves to another town, hoping to start afresh, but finds that its emotional burdens have emigrated with it.

    With his innocence forever lost, Simon must embark on a quest for self-hood that will be his salvation - or ruin.

    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.

    The eponymous hero, a country pastor whose appetite for alcohol and indiscretions ends his career, falls in with a dozen vagrant Swedish cavaliers and enters into a power struggle with the richest woman in the province.The book has a Faustian theme revolving around a possible deal with the Devil. It also deals with social issues such as poverty and depression, as well as mixing in elements of myths and humorous love stories.

    Like Strindberg at that age, he is a prophet without honor, his achievements having won him distinction only in foreign countries. On the island he has to combat pig-headedness and ignorance, and he is settling down with much self-pity to a long grind, when that creature whom he classifies as only a short remove from the child comes to cause further disturbance - a woman. For a time the uninitiated will suspect that a pretty love story is in the make, but others will observe the scientific analysis which Borg applies to even his happiest moments.

    With these, and a set of false papers, she has slipped out of the ghetto, passing as the wife of a Polish officer, until one day an informer spots her on the street and drags her off to the Gestapo. At times a dark lament, at others a sly and sardonic thriller, The Beautiful Mrs. Seidenman is the story of the thirty-six hours that follow Irma's arrest and the events that lead to her dramatic rescue as the last of Warsaw's Jews are about to meet their deaths in the burning ghetto.

    Their routine, isolated existence is interrupted when a lumberjack arrives at their lakeside cottage and falls in love with Hege, leaving Mattis fearful that he will lose his sister. The careful translation from the Norwegian underscores Vesaas's rare sensitivity in recording Mattis's often insightful view of his world. With a limited understanding of the unpredictable power of nature, Mattis nonetheless turns to the elements to discover the answers—with unsettling results.

    As the novel begins, he is a professor of American literature at a college in Toronto. Out of touch with his young students, and hounded by the Czech secret police, Danny is let loose to roam between past and present, adopting whatever identity that he chooses or has been imposed upon him by History.As adventuresome, episodic, bawdy, comic, and literary as any novel written in the past twenty-five years, The Engineer of Human Souls is worthy of the subtitle Skvorecky gave it: "An Entertainment on the Old Themes of Life, Women, Fate, Dreams, The Working Class, Secret Agents,Love and Death."

    A tragic legacy of the German occupation, illegitimate Tora is a social outcast. Worse, Tora also has to cope with the fear of her brutish stepfather and his sexual assaults. She consoles herself with lonely fantasies about her real father, with books, and with the friendship and support of a few village women. This proletarian feminist novel is about the victimization of women, but also about women's solidarity and power. Awarded a coveted Nordic prize, this is the first volume of a trilogy.

    reveals one of the most horrifying aspects of any war: the rape and torture of civilian women by occupying forces. S. is the story of a Bosnian woman in exile who has just given birth to an unwanted child—one without a country, a name, a father, or a language. Its birth only reminds her of an even more grueling experience: being repeatedly raped by Serbian soldiers in the "women's room" of a prison camp. Through a series of flashbacks, S. relives the unspeakable crimes she has endured, and in telling her story—timely, strangely compelling, and ultimately about survival—depicts the darkest side of human nature during wartime. "S. may very well be one of the strongest books about war you will ever read. . . .The writing is taut, precise, and masterful."

    This novel is a testament of what seemed at the time a fairly ordinary childhood, in the bosom of a normal Nazi family in Landsberg.Returning to her native town in East Germany forty years later, accompanied by her inquisitive and sometimes demanding daughter, Christa Wolf attempts to recapture her past and to clarify memories of growing up in Nazi Germany

    If Helping Verbs of the Heart was an homage to his mother, then this is a memorial to his father. It is actually two works in one. Book 1, "Numbered Sentences from the Life of the Esterházy Family", comprises 371 paragraphs, some elusively succinct, others pages long, that amount to a gloriously kaleidoscopic romp through the centuries that lie behind this European dynasty. Not that the name Esterházy is ever uttered: the main protagonist of each episode is invariably identified as "my father", whether he is an anti-Habsburg Kuruc insurrectionist or a Habsburg-loyal Labanc, a hammer of the Ottomans, a dying old man, a prisoner of war, a lord charming enough to enchant Goethe himself, or a childless man, to mention but a few of "my fathers", all evoked through the language and literature proper to each persona. This strategy of anonymity allows Esterházy to extend his typically vast net of quotations to sources that originally have no family connotations whatsoever, thereby lending broader significance to the particulars of this one family, however grand, and, vice versa, appropriating the general (European) experience to the family's specific circumstances. The baroquely exuberant proliferation of anecdotal gleanings and fragments of real and fictional history, drawing on a gamut of written genres, from maxims to parables, from confessional autobiography to the account books and chronicles, is ultimately threaded together by an unobtrusive, profoundly witty and wise philosophical vein.Book 2, subtitled "Confessions of an Esterházy family", is ostensibly a more conventional family novel. Its very subtitle alludes to an earlier Hungarian masterpiece of the genre, Confessions of a Bourgeois, 1934-35 by Sándor Márai. It consists of a series of snapshots of key events in the lives of the author's great-grandfather, grandfather, father and the young Esterházy himself. These are built up, over two hundred numbered passages, into a more or less chronological portrait of a century-and-a-half of steady decline of the family's fortunes. After 1945 the Esterházys suffered an almost catastrophic repeat of the confiscations and curtailment of liberties that befell them during the short-lived Commune of 1919 one that not only stripped them of their former rank and privileges but threatened their very subsistence. Largely anecdotal and often absurd in tone, much of this is recounted with great gusto from the author's personal perspective, not least the stories of his own childhood, such as being accidentally dropped into the baptismal font; the trek to a godforsaken village in July 1950 when an official deportation order resulted in the family being dumped in one of two rooms in a peasant couple's house; schooldays and trips to matches with his football-mad father. For all the vicissitudes and uncertainties it describes, the tone of his writing throughout is one of blithely upbeat humour and harmony, without a hint of reproach, regret or complaint."A captivatingly rich novel in terms of both its form and its stance. Certainly it is the most striking work of the fifty-year-old author's career to date, and I would evenventure to call it an epitome of the Esterházy oeuvre. Given its formal richness, however, it is in a way also a compendium of two to three centuries of Hungarianprose." -Péter Dérczy, Élet és Irodalom"This new novel is no less constructed of fragments than his earlier novels, and those are no less whole, but this has the widest span of any Esterházy composition to date: it is a sweeping, baroque work." -József Tamás Reményi, Népszabadság

    It created an international sensation upon first publication and led to the author's 1920 Nobel Prize in Literature. Rich in symbolism, it continues to resonate with modern readers today.

    A tetralogy containing "Spring Snow", a love story, "Runaway Horses", with a protagonist a right-wing terrorist, "The Temple of Dawn", where a Thai princess is mystically linked with the heroes of the preceding works and, written under the shadow of the author's death, "The Decay of the Angel".

    It is wintertime, late December: a species of "now." A narrator—Tsypkinis on a train going to Leningrad. And it is also mid-April 1867. The newly married Dostoyevskys, Fyodor, and his wife, Anna Grigor'yevna, are on their way to Germany, for a four-year trip. This is not, like J. M. Coetzee's The Master of St. Petersburg, a Dostoyevsky fantasy. Neither is it a docu-novel, although its author was obsessed with getting everything "right." Nothing is invented, everything is invented. Dostoyevsky's reckless passions for gambling, for his literary vocation, for his wife, are matched by her all-forgiving love, which in turn resonates with the love of literature's disciple, Leonid Tsypkin, for Dostoyevsky. In a remarkable introductory essay (which appeared in The New Yorker), Susan Sontag explains why it is something of a miracle that Summer in Baden-Baden has survived, and celebrates the happy event of its publication in America with an account of Tsypkin's beleaguered life and the important pleasures of his marvelous novel.