Placed by the parents of a 15-year-old Jewish girl, Dora Bruder, who had run away from her Catholic boarding school, the ad sets Modiano off on a quest to find out everything he can about Dora and why, at the height of German reprisals, she ran away on a bitterly cold day from the people hiding her. He finds only one other official mention of her name on a list of Jews deported from Paris to Auschwitz in September 1942. With no knowledge of Dora Bruder aside from these two records, Modiano continues to dig for fragments from Dora's past. What little he discovers in official records and through remaining family members, becomes a meditation on the immense losses of the period—lost people, lost stories, and lost history. Modiano delivers a moving account of the ten-year investigation that took him back to the sights and sounds of Paris under the Nazi Occupation, and the paranoia of the Pétain regime as he tries to find connections to Dora. In his efforts to exhume her from the past, Modiano realizes that he must come to terms with the specters of his own troubled adolescence. The result, a montage of creative and historical material, is Modiano's personal rumination on loss, both memoir and memorial.

    With all the stark simplicity of a fractured fairy tale, the trilogy tells the story of twin brothers, Claus and Lucas, locked in an agonizing bond that becomes a gripping allegory of the forces that have divided "brothers" in much of Europe since World War II. Kristof's postmodern saga begins with The Notebook, in which the brothers are children, lost in a country torn apart by conflict, who must learn every trick of evil and cruelty merely to survive. In The Proof, Lucas is challenging to prove his own identity and the existence of his missing brother, a defector to the "other side." The Third Lie, which closes the trilogy, is a biting parable of Eastern and Western Europe today and a deep exploration into the nature of identity, storytelling, and the truths and untruths that lie at the heart of them all. "Stark and haunting." - The San Francisco Chronicle; "A vision of considerable depth and complexity, a powerful portrait of the nobility and perversity of the human heart." - The Christian Science Monitor.

    A cofounder of the Negritude cultural movement, he is recognized as one of the most significant figures in African literature. This bilingual edition of Senghor's complete poems made his work available for the first time to English-speaking audiences.

    if indeed there were crimes.The youngest of forty - a child with no name and no past - she survives for some purpose long forgotten in a world ravaged and wasted. In this reality where intimacy is forbidden - in the unrelenting sameness of the artificial days and nights - she knows nothing of books and time, of needs and feelings.Then everything changes... and nothing changes.A young woman who has never known men - a child who knows of no history before the bars and restraints - must now reinvent herself, piece by piece, in a place she has never been... and in the face of the most challenging and terrifying of unknowns: freedom.

    The narrator, a boy of sixteen, tells of his love affair with Martha Lacombe, a young woman whose soldier husband is away at the front. With an accuracy of insight that is almost ruthless, he describes his conflicting emotions—the pride of an adolescent on the verge of manhood and the pain of a child thrust too fast into maturity.The liaison soon becomes a scandal, and their friends, horrified and incredulous, refuse to accept what is happening—even when the affair reaches its tragic climax.

    His love of women, his fondness for drink, and his loathing for the country prove formidable obstacles on his road to any kind of success. But when he becomes an operative in Operation Kingpin and is charged with monitoring the front runner in Kinjanja’s national elections, Morgan senses an opportunity to achieve real professional recognition and, more importantly, reassignment.After he finds himself being blackmailed, diagnosed with a venereal disease, attempting bribery, and confounded with a dead body, Morgan realizes that very little is going according to plan.

    Plunging toward its riveting finale, Malina brutally lays bare the struggle for love and the limits of discourse between women and men.

    Abiola IreleWinner of the Grand Prix Litteraire de l'Afrique Noire"I think this is perhaps the best African novel on colonialism and it draws very richly on various modes of oral literature." --Ralph Austen, University of Chicago"It is a wonderful introduction to colonial rule as experienced by Africans, and in particular, to the rule of African middlemen." --Martin A. Klein, University of Toronto"The Fortunes of Wangrin is not only a wonderful novel by one of Africa's most renowned intellectuals, it is also literally filled with information about French colonization and its impact on traditional African societies, African resistance and collaboration to colonization, the impact of French education in Africa, and a host of other subjects of interest." --Francois Manchuelle, New York UniversityWangrin is a rogue and an operator, hustling both the colonial French and his own people. He is funny, outrageous, corrupt, traditional, and memorable. Ba's book bridges the chasm between oral and written literature. The stories about Wangrin are drawn from oral sources, but in the hands of this gifted writer these materials become transformed through the power of artistic imagination and license.The Fortunes of Wangrin is a classic in Franchophone African literature.Amadou Hampate Ba was a distinguished Malian poet and scholar of African oral tradition and precolonial history.Aina Pavolini Taylor is an independent translator with wide experience of Africa, now living and working in Italy.F. Abiola Irele is a professor in the Department of Black Studies at Ohio State University.

    A dual narrative set in contemporary London and 18th century Benin in Africa, the book traverses the realms of magic realism with luminous style and graceful, effortless prose.

    Its twelve, stand-alone fragments follow the first year of her separation from her husband. The novel is full of light, sometimes comforting and sometimes dangerous: sunlight streaming through windows, dappled light in the park, distant fireworks, dazzling floodwater, desaturated streetlamps and earth-shaking explosions. The seemingly artless prose is beautifully patterned: the cumulative effect is disarmingly powerful and images remain seared into your retina for a long time afterwards.

    It is the family story of Celia del Pino, and her husband, daughter and grandchildren, from the mid-1930s to 1980. Celia's story mirrors the magical realism of Cuba itself, a country of beauty and poverty, idealism and corruption. DREAMING IN CUBAN presents a unique vision and a haunting lamentation for a past that might have been.

    Undset re-creates the historical backdrop in vivid detail, immersing readers in the day-to-day life, social conventions, and political undercurrents of the period. Her prose combines the sounds and style of Nordic ballads, European courtly poetry, and religious literature.But the story Undset tells is a modern one; it mirrors post-World War I political and religious anxieties, and introduces a heroine who has long captivated contemporary readers. Defying her parents and stubbornly pursuing her own happiness, Kristin emerges as a woman who not only loves with power and passion but intrepidly confronts her sexuality.

    In it author Unica Zurn traces the roots of her obsessions: The exotic father she idealized, the "impure" mother she detested, the masochistic fantasies and onanistic rituals which she said described "the erotic life of a little girl based on my own childhood." Dark Spring is the story of a young girl's simultaneous introduction to sexuality and mental illness, revealing a different aspect of the "mad love" so romanticized by the (predominantly male) Surrealists. Unica Zurn (1916-1970) emigrated in 1953 from her native Berlin to Paris in order to live with the artist Hans Bellmer. There she exhibited drawings as a member of the Surrealist group and collaborated with Bellmer on a series of notorious photographs of her nude torso bound with string. In 1957, a fateful encounter with the poet and painter Henri Michaux led to the first of what would become a series of mental crises, some of which she documented in her writings. She committed suicide in 1970--an act foretold in this, her last completed work.

    As pioneering settlers, they built a house of grass, ate off a damask cloth spread over packing cases, and discovered—the hard way—the world of the African. With an extraordinary gift for detail and a keen sense of humor, Huxley recalls her childhood on the small farm at a time when Europeans waged their fortunes on a land that was as harsh as it was beautiful. For a young girl, it was a time of adventure and freedom, and Huxley paints an unforgettable portrait of growing up among the Masai and Kikuyu people, discovering both the beauty and the terrors of the jungle, and enduring the rugged realities of the pioneer life.

    Readers of J. M. Coetzee's Disgrace, Bernhard Schlink's The Reader and Kafka will be captivated by Brodeck.Forced into a brutal concentration camp during a great war, Brodeck returns to his village at the war’s end and takes up his old job of writing reports for a governmental bureau. One day a stranger comes to live in the village. His odd manner and habits arouse suspicions: His speech is formal, he takes long, solitary walks, and although he is unfailingly friendly and polite, he reveals nothing about himself. When the stranger produces drawings of the village and its inhabitants that are both unflattering and insightful, the villagers murder him. The authorities who witnessed the killing tell Brodeck to write a report that is essentially a whitewash of the incident. As Brodeck writes the official account, he sets down his version of the truth in a separate, parallel narrative. In measured, evocative prose, he weaves into the story of the stranger his own painful history and the dark secrets the villagers have fiercely kept hidden.