Back then The Holograms had believed in their cutting-edge sound. However, the music industry remained indifferent, and eventually the band split up, each going their own way.Alain is overcome by nostalgia, and is tempted to track down the members of the group. But in a world where everything and everyone has changed . . . where will his quest take him?Antoine Laurain's new novel combines his trademark charm with a satirical take on modern France.

    In The Road Show we meet Zachary Edge, a Confederate soldier, on his way home at the war's close. He stumbles upon a traveling troupe, a chance encounter that is the start of an unforgettable odyssey. Edge hits the road with bawdy showgirls, roguish tricksters, and a host of colorful characters. He soon finds himself in the arms of Autumn Auburn, the lithesome artiste known for her breathtaking sensuality.

    But with only a butler and a dog for company, Xavier de Maistre managed to fill his time by embarking on a journey around his bedroom, later writing an account of what he had seen. Whether venturing from his bed to his sofa, or even to his mirror, he wears his "traveling outfit"--his favorite pink and blue pajamas. Out of his forced reclusion comes a captivating fantasy--a novel take on travel literature that would inspire many later writers, including Marcel Proust. This edition also contains de Maistre's "A Nocturnal Expedition around My Room." Xavier de Maistre was a military man, who supplemented his army career with short works of fiction.

    As he did so brilliantly in London: The Novel and New York: The Novel, Edward Rutherfurd brings to life the most magical city in the world: Paris. This breathtaking multigenerational saga takes readers on a journey through thousands of years of glorious Parisian history.

    But when she learns that she’s inherited the estate of a complete stranger—a woman named Isabelle de Florian—her life is turned upside down.Cat arrives in Paris to find that she is now the owner of a perfectly preserved Belle Époque apartment in the ninth arrondissement, and that the Frenchwoman’s family knew nothing about this secret estate. Amid these strange developments, Cat is left with burning questions: Who was Isabelle de Florian? And why did she leave the inheritance to Cat instead of her own family?As Cat travels France in search of answers, she feels her grasp on her New York life starting to slip. With long-buried secrets coming to light and an attraction to Isabelle de Florian’s grandson growing too intense to ignore, Cat will have to decide what to let go of, and what to claim as her own.

    Stael, the subject of recent feminist rediscovery, weaves discreet political allusion into her romance, and upon its publication Napoleon renewed her order of exile. Sylvia Raphel's new translation preserves the natural character of the French original, while the notes and introduction place this extraordinary work of European Romanticism in its historical and political context.

    Each man’s life, his story, his situation, is as different from the others’ as can be. What unites them is heartache. Trouble, that is, with women. The meetings are held in a spirit of openness and tolerance. In an almost religious silence each man confesses while the others listen. Philippe is a philosopher of repute. Since the woman he considered to be his perfect mate left him, he has been dating one of the world’s most famous models in an effort to forget. Denis has been working as a waiter for years. Women have lost interest in him entirely and he is in a deep funk because of it. But one day a mysterious woman with a suitcase appears on his doorstep and moves into his living room without explanation, throwing his life into turmoil. Yves is a husband and a cuckold, who, after having discovered his wife’s betrayal, refuses to honor any and all forms of faithfulness. He is spending a lifetime’s worth of savings in search of pleasure.In The Thursday Night Men, Benacquista gives his readers a variety of unexpected and amusing perspectives on romance, the relationship between the sexes, and friendship between men.

    It continues as a series of unforgettable encounters with men and, especially, women whose lives have been improbably and yet permanently transfigured by the strange power of desire. Lucid and lyrical, The Pure and the Impure stands out as one of modern literature's subtlest reckonings, not only with the varieties of sexual experience, but with the always unlikely nature of love.

    As they travel, they write home to wives and eunuchs in the harem and to friends in France and elsewhere. Their colourful observations on the culture differences between West and East culture conjure up Eastern sensuality, repression and cruelty in contrast to the freer, more civilized West - but here also unworthy nobles and bishops, frivolous women of fashion and conceited people of all kinds are satirized. Storytellers as well as letter-writers, Montesquieu's Usbek and Rica are disrespectful and witty, but also serious moralists. Persian Letters was a succès de scandale in Paris society, and encapsulates the libertarian, critical spirit of the early eighteenth century.

    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.

    In Pornocracy, a beautiful woman wanders through a gay disco and engages a man, confident that he will follow her. Perversely and dispassionately, she offers her body as the ground of a ritualistic game in which, over the course of three evenings, the two will explore the numbing mechanics of sexual brutality. What follows is an exchange between a man and a woman that is both frankly sexual and deeply philosophical. Adapted and directed for film in France by Breillat as Anatomy of Hell (2004), Pornocracy leads the reader through an undulating and atmospheric exploration of the criminal and the erotic, finally climaxing in a place well beyond more familiar moral terrain. Although Breillat's films—most recently Fat Girl (2001) and Romance (1999)—are well known to international audiences, this publication marks her literary debut in America. It will demonstrate that Breillat's famous films are but one aspect of her strikingly original poetic and philosophical vision.

    Three long stories that draw the reader into the lives of three women, all past their first youth, all facing unexpected crises.

    On this occasion, their ringleader is inspired to rebellion after reading some books on philosophy and science.Anatole France's 1914 satire of war, government, and religion offers an ever-resonant protest against violence and tyranny.

    Elegaic, macabre, chimerical, Funeral Rites is a dark meditation on the mirror images of love and hate, sex and death.

    An anarchist who has been in exile from his native Spain for more than twenty years, he lives with his daughter in Paris, but in his mind he is still fighting the Spanish Civil War. He fulminates against the daily papers; he brags about his past exploits. He has become bigoted, self-important, and obsessed; a bully to his fellow exiles and a tyrant to his daughter, Pascualita. Then a family member dies in Madrid and there is an inheritance to sort out. Pascualita wants to go to Spain, which is supposedly opening up in response to the 1960s, and Don Celestino feels he has no choice but to follow. He is full of dread and desire, foreseeing a heroic last confrontation with his enemies, but what he encounters instead is a new commercialized Spain that has no time for the past, much less for him. Or so it seems. Because the last act of Don Celestino’s dizzying personal drama will prove that though “there is nothing serious . . . , there is tragedy.” An astonishing modern take on Don Quixote, Chaos and Night untangles the ties between politics and paranoia, self-loathing and self-pity, rage and remorse. It is the darkly funny final flowering of the art of Henry de Montherlant, a solitary and scarifying modern master whose work, admired by Graham Greene and Albert Camus, is sure to appeal to contemporary readers of Thomas Bernhard and Roberto Bolaño.