Schemes, crimes, infidelities, hopes of escape, and above all trust and its constant betrayal are Krasznahorkai’s meat. “At the center of Satantango,” George Szirtes has said, “is the eponymous drunken dance, referred to here sometimes as a tango and sometimes as a csardas. It takes place at the local inn where everyone is drunk. . . . Their world is rough and ready, lost somewhere between the comic and the tragic, in one small insignificant corner of the cosmos. Theirs is the dance of death.” “You know,” Mrs. Schmidt, a pivotal character, tipsily confides, “dance is my one weakness.”

    Yu's four-volume translation of Hsi-yu Chi, one of the most beloved classics of Chinese literature. The fantastic tale recounts the sixteen-year pilgrimage of the monk Hsüan-tsang (596-664), one of China's most illustrious religious heroes, who journeyed to India with four animal disciples in quest of Buddhist scriptures. For nearly a thousand years, his exploits were celebrated and embellished in various accounts, culminating in the hundred-chapter Journey to the West, which combines religious allegory with romance, fantasy, humor, and satire.

    The saga recounts Egil's progression from youthful savagery to mature wisdom as he struggles to avenge his father's exile from Norway, defend his honour against the Norwegian King Erik Bloodaxe, and fight for the English King Athelstan in his battles against Scotland. Exploring issues as diverse as the question of loyalty, the power of poetry, and the relationship between two brothers who love the same woman, Egil's Saga is a fascinating depiction of a deeply human character.

    Thirty-eight-year-old Zofia Turbotyńska has assured her husband's rise through the ranks to university professor and is now looking for something to fill her long days at home. To stave off the boredom and improve her social standing, she decides to organise a charity raffle. To recruit the requisite patronage of elderly aristocratic ladies, she visits Helcel House, a retirement home run by nuns.When two of the residents are found dead, Zofia discovers by chance that her real talents lie in solving crimes. The examining magistrate's refusal to take seriously her insistence that foul play is involved spurs her on to start her own investigation, recruiting her quick-witted servant Franciszka as her assistant. With her husband blissfully unaware of her secret activities, Zofia ruthlessly follows the clues and gradually closes in on the truth.Drawing on Agatha Christie and filled with period character and charm, Mrs Mohr Goes Missing vividly recreates life in turn-of-the-century Poland, confronting a range of issues from class prejudice to women's rights, and proving that everyone is capable of finding their passion in life, however unlikely it may seem.

    This story of three closely related Oxfordshire communities - a hamlet, the nearby village and a small market town - is based on the author's experiences during childhood and youth. It chronicles May Day celebrations and forgotten children's games, the daily lives of farmworkers and craftsmen, friends and relations - all painted with a gaiety and freshness of observation that make this trilogy an evocative and sensitive memorial to Victorian rural England.With a new introduction by Richard Mabey

    Set against Iceland's stark landscape, Hannah Kent brings to vivid life the story of Agnes, who, charged with the brutal murder of her former master, is sent to an isolated farm to await execution. Horrified at the prospect of housing a convicted murderer, the family at first avoids Agnes. Only Tóti, a priest Agnes has mysteriously chosen to be her spiritual guardian, seeks to understand her. But as Agnes's death looms, the farmer's wife and their daughters learn there is another side to the sensational story they've heard. Riveting and rich with lyricism, Burial Rites evokes a dramatic existence in a distant time and place, and asks the question, how can one woman hope to endure when her life depends upon the stories told by others?

    The narrator is a scientist hideously deformed in a laboratory accident–a man who has lost his face and, with it, his connection to other people. Even his wife is now repulsed by him. His only entry back into the world is to create a mask so perfect as to be undetectable. But soon he finds that such a mask is more than a disguise: it is an alternate self–a self that is capable of anything. A remorseless meditation on nature, identity and the social contract, The Face of Another is an intellectual horror story of the highest order.

    Nicolai Gogol was a master of the spoof. The American students of today are not the only readers who have been confused by him. Russian literary history records more divergent interpretations of Gogol than perhaps of any other classic.In a new translation of the comic classic of Russian literature, Chichikov, an enigmatic stranger and conniving schemer, buys deceased serfs' names from their landlords' poll tax lists hoping to mortgage them for profit and to reinvent himself as a likeable gentleman.

    Ghosts is a scathing indictment of Victorian society in which Ibsen refutes the notion that if one simply fulfills one's duty rather than following one's desires then a good and noble life will be achieved. Scandalous in its day for its frank discussion of venereal disease and marriage infidelity, Ghosts remains to this day an intense psychological drama and sharp social criticism.Ghosts was written during the autumn of 1881 and was published in December of the same year. It was not performed in the theatre until May 1882, when a Danish touring company produced it in the Aurora Turner Hall in Chicago. Ibsen disliked the translator William Archer's use of the word 'Ghosts' as the play's title, whereas the Norwegian Gengangere would be more accurately translated as The Revenants, which literally means The Ones who Return.

    Filled with slang and obscenities and written in raw, colloquial language, Journey to the End of the Night is a literary symphony of violence, cruelty and obscene nihilism. This book shocked most critics when it was first published in France in 1932, but quickly became a success with the reading public in Europe, and later in America where it was first published by New Directions in 1952. The story of the improbable yet convincingly described travels of the petit-bourgeois (and largely autobiographical) antihero, Bardamu, from the trenches of World War I, to the African jungle, to New York and Detroit, and finally to life as a failed doctor in Paris, takes the readers by the scruff and hurtles them toward the novel's inevitable, sad conclusion.

    But after his powerful godfather is assassinated, the unwitting Cornelius becomes caught up in deadly political intrigue and is falsely accused of high treason by a bitter rival. Condemned to life imprisonment, his only comfort is Rosa, the jailer's beautiful daughter, and together they concoct a plan to grow the black tulip in secret. Dumas' last major historical novel is a tale of romantic love, jealousy and obsession, interweaving historical events surrounding the brutal murders of two Dutch statesman in 1672 with the phenomenon of tulipomania that gripped seventeenth-century Holland.

    In the company of his faithful squire, Sancho Panza, his exploits blossom in all sorts of wonderful ways. While Quixote's fancy often leads him astray—he tilts at windmills, imagining them to be giants—Sancho acquires cunning and a certain sagacity. Sane madman and wise fool, they roam the world together, and together they have haunted readers' imaginations for nearly four hundred years.With its experimental form and literary playfulness, Don Quixote has been generally recognized as the first modern novel. The book has been enormously influential on a host of writers, from Fielding and Sterne to Flaubert, Dickens, Melville, and Faulkner, who reread it once a year, "just as some people read the Bible."

    As she struggles to communicate with her maidservant turned caretaker, Agaat, the complicated history of their relationship is revealed.Life for white farmers in 1950s South Africa was full of promise. Young and newly married, Milla carved her own farm out of a swathe of Cape mountainside. She earned the respect of the male farmers in her community and raised a son. But forty years later all she has left are memories and the proud, contrary Agaat. With punishing precision, yet infinite tenderness, Agaat performs her duties, balancing anger with loyalty. As Milla’s white world and its certainties recede and Agaat faces the prospect of freedom, the shift of power between them mirrors the historic changes happening around them. Marlene van Niekerk’s epic masterpiece portrays how two women—and, perhaps, a nation—can forge a path toward understanding and reconciliation.

    Among the guests of the hotel is Doctor Otternschlag, a World War I veteran whose face has been sliced in half by a shell. Day after day he emerges to read the paper in the lobby, discreetly inquiring at the desk if the letter he’s been awaiting for years has arrived. Then there is Grusinskaya, a great ballerina now fighting a losing battle not so much against age as against her fear of it, who may or may not be made for Gaigern, a sleek professional thief. Herr Preysing also checks in, the director of a family firm that isn’t as flourishing as it appears, who would never imagine that Kringelein, his underling, a timorous petty clerk he’s bullied for years, has also come to Berlin, determined to live at last now that he’s received a medical death sentence. All these characters and more, with all their secrets and aspirations, come together and come alive in the pages of Baum’s delicious and disturbing masterpiece.

    A disorganized cutlery drawer ranks high on her list of unforgivable sins. She is not one to judge others—no matter how ill-mannered, unkempt, or morally suspect they might be. It’s just that sometimes people interpret her helpful suggestions as criticisms, which is certainly not her intention. But hidden inside the socially awkward, fussy busybody is a woman who has more imagination, bigger dreams, and a warmer heart that anyone around her realizes.When Britt-Marie walks out on her cheating husband and has to fend for herself in the miserable backwater town of Borg—of which the kindest thing one can say is that it has a road going through it—she finds work as the caretaker of a soon-to-be demolished recreation center. The fastidious Britt-Marie soon finds herself being drawn into the daily doings of her fellow citizens, an odd assortment of miscreants, drunkards, layabouts. Most alarming of all, she’s given the impossible task of leading the supremely untalented children’s soccer team to victory. In this small town of misfits, can Britt-Marie find a place where she truly belongs?