But tourists and opportunists are making inroads into the area, and the balance of nature is making a dangerous shift. Translated by Peter Bush.

    Preface by André Gide. Translated by Stuart Gilbert.

    Renée, the concierge, is witness to the lavish but vacuous lives of her numerous employers. Outwardly she conforms to every stereotype of the concierge: fat, cantankerous, addicted to television. Yet, unbeknownst to her employers, Renée is a cultured autodidact who adores art, philosophy, music, and Japanese culture. With humor and intelligence she scrutinizes the lives of the building's tenants, who for their part are barely aware of her existence. Then there's Paloma, a twelve-year-old genius. She is the daughter of a tedious parliamentarian, a talented and startlingly lucid child who has decided to end her life on the sixteenth of June, her thirteenth birthday. Until then she will continue behaving as everyone expects her to behave: a mediocre pre-teen high on adolescent subculture, a good but not an outstanding student, an obedient if obstinate daughter. Paloma and Renée hide both their true talents and their finest qualities from a world they suspect cannot or will not appreciate them. They discover their kindred souls when a wealthy Japanese man named Ozu arrives in the building. Only he is able to gain Paloma's trust and to see through Renée's timeworn disguise to the secret that haunts her. This is a moving, funny, triumphant novel that exalts the quiet victories of the inconspicuous among us.

    Now twenty-five, with a new life and the prospect of a child, Kimiâ is inundated by her own memories and the stories of her ancestors, which reach her in unstoppable, uncontainable waves. In the waiting room of a Parisian fertility clinic, generations of flamboyant Sadrs return to her, including her formidable great-grandfather Montazemolmolk, with his harem of fifty-two wives, and her parents, Darius and Sara, stalwart opponents of each regime that befalls them.In this high-spirited, kaleidoscopic story, key moments of Iranian history, politics, and culture punctuate stories of family drama and triumph. Yet it is Kimiâ herself—punk-rock aficionado, storyteller extraordinaire, a Scheherazade of our time, and above all a modern woman divided between family traditions and her own “disorientalization”—who forms the heart of this bestselling and beloved novel.

    The test is severe—sexual in method, psychological in substance… The artistic interest here has precisely to do with the use not only of erotic materials but also erotic methods, the deliberate stimulation of the reader as a part of and means to a total, authentic literary experience.—Eliot Fremont-Smith, The New York Times

    Mlle. De Maupin, Lolita, Candy—all pale beside Juliette.”—Library Journal

    The highly-regarded but unpredictable ex-commando Pierre NiTmans is sent from Paris to the French Alps to investigate. Meanwhile, Karim Abdouf, a young Arab policeman, is trying to find out why the tomb of a young child has been desecrated. When a second body is found, high up in a glacier, the paths of the two policemen are joined in their search for the killers, a trail that embroils them with the mysterioius cult of the Crimson Rivers.

    I've never written to someone I didn't know. It feels strange. I don't know if what I'm doing is good or bad, crazy or just eccentric, useful or pointless.When Israeli teenager Tal Levine decides to throw a bottle with a letter into the Gaza Sea, she has little idea what to expect. Against all odds, Tal longs to strike up a correspondence with someone on the other side -- to forge something positive out of the turbulent and troubled times in which Israelis and Palestinians live. But what kind of response might a Palestinian give to an Israeli girl? Tal is not expecting "Gazaman," the boy who retrieves her bottle on a Gaza beach: Gazaman, a thorny, sarcastic young man with a reluctance to reveal anything about his true identity; Gazaman, who at first mocks Tal, only to be gradually drawn in by her. A remarkable e-mail exchange begins, which shakes the beliefs of both to the core and confounds all their expectations.

    Asked to write a memoir, she turned in this paranoid fantasia of rising floodwaters, walking corpses, eerie depictions of her very own parents, and the incessant reappearance of women in green. Just who are these green women? They are powerful (one was NDiaye’s disciplinarian grade-school teacher). They are mysterious (one haunts a house like a ghost and may be visible only to the author). They are seductive (one stole a friend’s husband). And they are unbearably personal (one is NDiaye’s own mother). They are all, in their way, aspects of their creator, at once frightening, menacing, and revealing of everything submerged within the consciousness of this singular literary talent. A courageous, strikingly honest, and unabashedly innovative self-portrait, NDiaye’s kaleidoscopic look at the women in green is a revelation to us all — about how we form our identities, how we discover those things we repress, and how our obsessions become us.

    The audience was scandalized by this revolutionary satire, developed from a schoolboy farce, which began with a four-letter word, defied all the traditions of the stage, and ridiculed the established values of bourgeois society.Barbara Wright’s witty translation of this riotous work is accompanied with drawings by Franciszka Themerson. Two previously untranslated essays in which Jarry explains his theories of the drama have also been included.

    Alice and Mattia, both "primes," are misfits who seem destined to be alone. Haunted by childhood tragedies that mark their lives, they cannot reach out to anyone else. When Alice and Mattia meet as teenagers, they recognize in each other a kindred, damaged spirit. But the mathematically gifted Mattia accepts a research position that takes him thousands of miles away, and the two are forced to separate. Then a chance occurrence reunites them and forces a lifetime of concealed emotion to the surface. Like Mark Haddon's The Curious Incident of the Dog in the Night-Time, this is a stunning meditation on loneliness, love, and the weight of childhood experience that is set to become a universal classic.

    Dumas transforms minor historical figures into larger- than-life characters: the Comte d’Artagnan, an impetuous young man in pursuit of glory; the beguilingly evil seductress “Milady”; the powerful and devious Cardinal Richelieu; the weak King Louis XIII and his unhappy queen—and, of course, the three musketeers themselves, Athos, Porthos, and Aramis, whose motto “all for one, one for all” has come to epitomize devoted friendship. With a plot that delivers stolen diamonds, masked balls, purloined letters, and, of course, great bouts of swordplay, The Three Musketeers is eternally entertaining.

    He governs his realm with an iron hand, but he cannot rule his own family: his sons are weak and their wives adulterous; while his red-blooded daughter Isabella is unhappily married to an English king who prefers the company of men.A web of scandal, murder and intrigue is weaving itself around the Iron King; but his downfall will come from an unexpected quarter. Bent on the persecution of the rich and powerful Knights Templar, Philip sentences Grand Master Jacques Molay to be burned at the stake, thus drawing down upon upon himself a curse that will destroy his entire dynasty ...

    They are both married with children, and for the most part, they are happy. On almost the same day, Anna, a psychiatrist, crosses paths with Yves, a writer, while Louise, a lawyer, meets Anna's analyst, Thomas. Love at first sight is still possible for those into their forties and long-married. But when you have already mapped out a life path, a passionate affair can come at a high price. For our four characters, their lives are unexpectedly turned upside down by the deliciously inconvenient arrival of love. For Anna, meeting Yves has brought a flurry of excitement to her life and made her question her values, her reliable husband, and her responsibilities to her children. For Louise, a successful career woman in a stable and comfortable marriage, her routine is uprooted by the youthful passion she feels for Thomas. Thought-provoking, sophisticated, and, above all, amusing, Enough About Love captures the euphoria of desire through tender and unflinching portraits of husbands, wives, and lovers.