Born in 1812, the illegitimate son of a wealthy Russian landowner, he became one of the most important revolutionary and intellectual figures of his time: as theorist, polemicist, propagandist, and political actor. Fifty years after his death, Lenin revered him as the father of Russian revolutionary socialism. Tolstoy said he had never met another man "with so rare a combination of scintillating brilliance and depth." His monumental autobiography is an unparalleled record of his—and his century's—remarkable life.Herzen's story of his privileged childhood among the Russian aristocracy is lit with the insight of a great novelist. With a trained historian's sense of the interaction of people and events, he limns the grand line of revolutionary development from the earliest stirrings of Russian radicalism throughthe tumultuous ideological debates of the international. His close friends and enemies—Marx, Wagner, Mill, Bakunin, Garibaldi, Kropotkin—are brought brilliantly alive. Dwight Macdonald's knowledgeable and fluent abridgment makes this great work readily available to the modern reader.

    It is also a wonderful piece of travel writing. Custine, who met with people in all walks of life, including the Czar himself, offers vivid descriptions of St. Petersburg and Moscow, of life at court and on the street, and of the impoverished Russian countryside. But together with a wealth of sharply delineated incident and detail, Custine's great work also presents an indelible picture--roundly denounced by both Czarist and Communist regimes--of a country crushed by despotism and "intoxicated with slavery."Letters from Russia, here published in a new edition prepared by Anka Muhlstein, the author of the Goncourt Prize-winning biography of Custine, stands with Tocqueville's Democracy in America as a profound and passionate encounter with historical forces that are still very much at work in the world today.

    Michihiko Hachiya was director of the Hiroshima Communications Hospital when the world's first atomic bomb was dropped on the city. Though his responsibilities in the appalling chaos of a devastated city were awesome, he found time to record the story daily, with compassion and tenderness. His compelling diary was originally published by the UNC Press in 1955, with the help of Dr. Warner Wells of the University of North Carolina at Chapel Hill, who was a surgical consultant to the Atomic Bomb Casualty Commission and who became a friend of Dr. Hachiya. In a new foreword, John Dower reflects on the enduring importance of the diary fifty years after the bombing.

    Massacres, conspiracies, clandestine trysts, secret alliances, daring escapes, sumptuous feasts, and duels of wit propel the action in this delightful story of French royalty during the 16th century. Advertising with movie.

    Written in potent, raw prose that propelled the author to celebrity upon publication, the book has become almost completely forgotten.In the early 20th century, MacLane's name was synonymous with sexuality; she is widely hailed as being one of the earliest American feminist authors, and critics at the time praised her work for its daringly open and confessional style. In its first month of publication, the book sold 100,000 copies—a remarkable number for a debut author, and one that illustrates MacLane's broad appeal.Now, with a new foreword written by critic Jessa Crispin, I Await The Devil's Coming stands poised to renew its reputation as one of America's earliest and most powerful accounts of feminist thought and creativity.

    Baxter highlights hidden treasures along theSeine, treasured markets at Place d’Aligre, the favorite ambles of Ernest Hemingway, Gertrude Stein, and Sylvia Beach, and more, in a series of intimate vignettes that evoke the best parts of Paris’s many charms. Baxter’s unforgettable chronicle reveals how walking is the best way to experience romance, history, and pleasures off the beaten path . . . not only of La Ville-Lumière but also, perhaps, of life itself.

    Babur’s honest and intimate chronicle is the first autobiography in Islamic literature, written at a time when there was no historical precedent for a personal narrative—now in a sparkling new translation by Islamic scholar Wheeler Thackston.This Modern Library Paperback Classics edition includes notes, indices, maps, and illustrations.

    In The Captive, Proust’s narrator describes living in his mother’s Paris apartment with his lover, Albertine, and subsequently falling out of love with her. In The Fugitive, the narrator loses Albertine forever. Rich with irony, The Captive and The Fugitive inspire meditations on desire, sexual love, music, and the art of introspection. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin’s acclaimed reworking of C. K. Scott Moncrieff’s translation to take into account the new definitive French editions of Á la recherché du temps perdu (the final volume of these new editions was published by the Bibliothèque de la Pléiade in 1989).

    In it, she confronts a meticulous diary that she has kept for twenty-five years. “I wanted to end each day with a record of everything that had ever happened,” she explains. But this simple statement belies a terror that she might forget something, that she might miss something important. Maintaining that diary, now eight hundred thousand words, had become, until recently, a kind of spiritual practice.Then Manguso became pregnant and had a child, and these two Copernican events generated an amnesia that put her into a different relationship with the need to document herself amid ongoing time.Ongoingness is a spare, meditative work that stands in stark contrast to the volubility of the diary—it is a haunting account of mortality and impermanence, of how we struggle to find clarity in the chaos of time that rushes around and over and through us.“Bold, elegant, and honest . . . Ongoingness reads variously as an addict’s testimony, a confession, a celebration, an elegy.” —The Paris Review“Manguso captures the central challenge of memory, of attentiveness to life . . . A spectacularly and unsummarizably rewarding read.” —Maria Popova, Brain Pickings

    In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

    In a "continuous thread of revelation" she sketches her autobiography and tells us how her family and her surroundings contributed to the shaping not only of her personality but of her writing. Homely and commonplace sights, sounds, and objects resonate with the emotions of recollection: the striking clocks, the Victrola, her orphaned father's coverless little book saved since boyhood, the tall mountains of the West Virginia back country that become a metaphor for her mother's sturdy independence, Eudora's earliest box camera that suspended a moment forever and taught her that every feeling awaits a gesture. She has recreated this vanished world with the same subtlety and insight that mark her fiction.Even if Eudora Welty were not a major writer, her description of growing up in the South--of the interplay between black and white, between town and countryside, between dedicated schoolteachers and the public they taught--would he notable. That she is a splendid writer of fiction gives her own experience a family likeness to others in the generation of young Southerners that produced a literary renaissance. Until publication of this book, she had discouraged biographical investigations. It undoubtedly was not easy for this shy and reticent lady to undertake her own literary biography, to relive her own memories (painful as well as pleasant), to go through letters and photographs of her parents and grandparents. But we are in her debt, for the distillation of experience she offers us is a rare pleasure for her admirers, a treat to everyone who loves good writing and anyone who is interested in the seeds of creativity.

    Fisher's life as a large colorful painting, it is here, in The Gastronomical Me, that one sees the first lines and sketches upon which that life was based. In what is the most intimate of her five volumes of her "Art of Eating" series, the reader witnesses the beginnings of a writer who, with food as her metaphor, writes of the myriad hungers and satisfactions of the heart.

    In the year in which Matar's life was shattered by the disappearance of his father the work of the great artists of Siena seemed to offer him a sense of hope. Over the years since then, Matar's feelings towards these paintings would deepen and, as he says, 'Siena began to occupy the sort of uneasy reverence the devout might feel towards Mecca or Rome or Jerusalem'.A Month in Siena is the encounter, twenty-five years later, between the writer and the city he had worshipped from afar. It is a dazzling evocation of an extraordinary place and its effect on the writer's life. It is an immersion in painting, a consideration of grief and a profoundly moving contemplation of the relationship between art and the human condition.____________________________________'An exquisite, deeply affecting book' - Evening Standard'This book tells us much about the extraordinary power of art to inspire' Literary Review

    In My Fantoms Richard Holmes, the celebrated biographer of Shelley and Coleridge, has found a brilliantly effective new way to bring this great but too-little-known writer into English. My Fantoms assembles seven stories spanning the whole of Gautier’s career into a unified work that captures the essence of his adventurous life and subtle art. From the erotic awakening of “The Adolescent” through “The Poet,” a piercing recollection of the mad genius Gérard de Nerval, the great friend of Gautier’s youth, My Fantoms celebrates the senses and illuminates the strange disguises of the spirit, while taking readers on a tour of modernity at its most mysterious. ”What ever would the Devil find to do in Paris?” Gautier wonders. “He would meet people just as diabolical as he, and find himself taken for some naïve provincial…”Tapestries, statues, and corpses come to life; young men dream their way into ruin; and Gautier keeps his faith in the power of imagination: “No one is truly dead, until they are no longer loved.”

    It begins in October 1900, as a teenage Pablo Picasso, eager for fame and fortune, first makes his way up the hillside of Paris’s famous windmill-topped district. Over the next decade, among the studios, salons, cafés, dance halls, and galleries of Montmartre, the young Spaniard joins the likes of Henri Matisse, André Derain, Maurice de Vlaminck, Georges Braque, Amedeo Modigliani, Constantin Brancusi, Gertrude Stein, and many more, in revolutionizing artistic expression.Sue Roe has blended exceptional scholarship with graceful prose to write this remarkable group portrait of the men and women who profoundly changed the arts of painting, sculpture, dance, music, literature, and fashion. She describes the origins of movements like Fauvism, Cubism, andFuturism, and reconstructs the stories behind immortal paintings by Picasso and Matisse. Relating the colorful lives and complicated relationships of this dramatic bohemian scene, Roe illuminates the excitement of the moment when these bold experiments in artistic representation and performance began to take shape.A thrilling account, In Montmartre captures an extraordinary group on the cusp of fame and immortality. Through their stories, Roe brings to life one of the key moments in the history of art. Praise for In Montmartre "Lively and engaging….[Readers] will find a fresh sense of how all these people—the geniuses and the hangers-on, the wealthy collectors and the unworldly painters—related to each other…..In [Roe’s] entertaining, ingeniously structured account Roe brings Montmatre’s hedyday back to life." —Sunday Times (London) "With evocative imagery Roe sketches out the intensely visual spectacle on which Montmatre’s artistic community was able to draw…. Roe is particularly good at communicating the extraordinary devotion of Matisse and Picasso to their work." —Financial Times