Though claiming to be a salesman, it soon becomes apparent that Josef has no purpose in the town, and that a newcomer can expect nothing but distrust from the townspeople. Maribor is full of tensions that are played out in pub brawls and in the rivalry between the Slovenes and Germans at the top of the social hierarchy. Trying to fit in, Josef soon falls in with a group of engineers and begins an affair with Margarita, the wife of a friend; as Josef lingers without any obvious business, however, he draws the attention of the local police chief, who believes him to be a communist. The longer Josef stays, the more incomprehensible the town becomes, the further he falls, and the less certain he is of his sanity. Against this backdrop of ethnic hatred and personal descent, Josef witnesses the fiery shimmer of the aurora borealis and imagines the town has been set aflame—an omen of the coming of war..About the Authors:Drago Jancar was born in Maribor, Slovenia, in 1948. A former president of the Slovenian PEN Center and a winner of the Preseren Foundation Award, he is currently an editor of the New Review, a cultural journal once at the forefront of the Slovenian dissident movement. He is the author of Mocking Desire.Michael BigginsMICHAEL BIGGINSheads the Slavic and East European Section at the University of Washington Libraries, Seattle. He is the translator of Mocking Desire.

    Using his life experiences for much of the action in the novel, Zupan introduces us to Jakob Bergant Berk, a man lost in two places and times. Slip-sliding between occupied Slovenia in the 1940s and a Spanish resort in the 1970s, we move from harrowing wartime guerrilla fighting to Berk’s curious encounter with Joseph Bitter, a former German soldier, during vacation in Spain. In the war, Berk is an apolitical non-conformist swept along by events over which he has little control, and some thirty years later, still traumatised by his wartime experiences, he tries to make sense of his memories in discussions with his old enemy Bitter.Once rumoured that it was used by the CIA as a manual for guerrilla warfare, Minuet for Guitar is a powerful examination of war on par with Céline’s Journey to the End of the Night, a modern Slovenian classic filled with philosophical ruminations and told in Zupan’s casual, ironic and even seductive voice.War is also a dance. The war dance had begun, they say. A minuet. Accompanied by a twenty-five-shot guitar.

    But when Hanna Woyczik becomes the key witness in a pivotal court case, he is called on to perform the most difficult task imaginable: to move in with and guard the woman for an entire week.

    

    Ćamil, a wealthy young man of Smyrna living in the last years of the Ottoman Empire, is fascinated by the story of Džem, ill-fated brother of the Sultan Bajazet, who ruled Turkey in the fifteenth century. Ćamil, in his isolation, comes to believe that he is Džem, and that he shares his evil destiny: he is born to be a victim of the State. Because of his stories about Džem’s ambitions to overthrow his brother, Ćamil is arrested under suspicion of plotting against the Sultan. He is taken to a prison in Istanbul, where he tells his story, to Petar, a monk.Out of these exotic materials, Andrić has constructed a book of great clarity, brevity and interest. No doubt it will be read by some as a political parable about the tyranny of the State, but also as a quite simply story about ill-fortune and human misunderstanding, fear and ignorance. Džem and Ćamil are doomed – and the certainty of their persecution is sometimes relieved, sometimes intensified by the stupidity and fright of the people who cross their ill-starred lives.Construction takes up most of the book’s space: the central story of Džem as related by Ćamil lasts only a chapter or two. For the rest of the time the reader strips layer off layer, as one narrator passes him on the next. There is an interesting passage that helps to explain this method, at the moment when Ćamil starts narrating Džem’s story in the first person. “I” is a word, we are told, which fixes the position of the speaker in such a way that the exercise of will is no longer possible, and the speaker strength is exceeded – strength, presumably, to break out of the identification that all his past actions and thoughts force upon him when he uses the word. “I” is both a confession and an imprisonment. The fact that the novel passes the reader on from one narrator to the next rather suggests that the author is taking constant evasive action, lest he betray himself or his reader into the kind of “personal confession” which seals the fate of Ćamil. What exactly this game of form flirting with meaning signifies, must be left to the individual reader.The movement is centripetal, towards Džem’s story, and then disperses. Details within the story are made to mimic this form. Thus when Peter receives the message telling him of his impending release:“Two younger prisoners...were chasing around using him as the centerpoint of ever narrowing circles. Annoyed, he tried to break away from these exuberant youths when one of them brushed against him and he felt a folded scrap of paper thrust into his hand. The youths continued their chase but now in widening circles...”The reader is led on just such a chase in the course of the novel. The effect of this is to make the plot seem more like a poetic image than an ordinary plot: capable, therefore, of as many meanings as are the images of an allusive poem. Yet the language is simple and direct, not at all “poetic”. The characters are remarkable alive, even in conversation. Karađoz, the governor of the goal, is a spidery authoritarian, who loves to torment the charges he loves. The prisoners “complained about the way one complains about one’s life and curses one’s destiny...it would have been hard for them to imagine life without him”.“The Devil’s Yard” is justified, as all symbolic and figurative novels must be, by the extent to which it touches the emotions. It is extremely moving. Fear, horror, despair, amusement at times – all these indicate that the threat of the meaning has been recognized.

    Each book in the series has been designed with today's young reader in mind. As the words come to life, students will develop a lasting appreciation for great literature.The humor of Mark Twain...the suspense of Edgar Allan Poe...the danger of Jack London...the sensitivity of Katherine Mansfield. Creative Short Stories has it all and will prove to be a welcome addition to any library.

    Pressured by her mother to make a conventional and dull marriage, she is delighted to escape London and seek retreat with her eccentric and bohemian aunt in Cornwall.A chance encounter with an attractice young artist on the seashore leads to day after idyllic summer's day of exploring the Cornish countryside and coast. But there is something troubling Daniel, and Prue, now deeply entangled, feels compelled to discover what it is...

    A henpecked husband copes with the frustrations of his dull life by imagining he is a fearless airplane pilot, a brilliant doctor, and other dashing figures.

    It was during those three days that, for the first time, he had asked her to marry him. She said "maybe some day," she said "kiss me," she said "I'd like to marry you," she said "I love you"--she said-- nothing.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    The play ushered in a new social era and "exploded like a bomb into contemporary life".  The Student Edition contains these exclusive features: ·         A chronology of the playwright's life and work ·         An introduction giving the background of the play ·         Commentary on themes, characters. language and style ·         Notes on individual words and phrases in the text ·         Questions for further study ·         Bibliography for further reading.

    She had not previously gone to a ball due to living deep in the country, and she goes to the ball with her cousins due to lacking any siblings of her own.

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    The story of the Cornish knight and the Irish princess who meet by deception, fall in love by magic, and pursue that love in defiance of heavenly and earthly law has inspired artists from Matthew Arnold to Richard Wagner. But nowhere has it been retold with greater eloquence and dignity than in Joseph Bédier’s edition, which weaves several medieval sources into a seamless whole, elegantly translated by Hilaire Belloc and Paul Rosenfeld.

    Information for Foreigners is a drama of disappearance, an experimental work dealing with the theme of random and meaningless punishment in which the audience is led through darkened passageways to a series of nightmarish tableaux. The collection also includes The Walls and Antigona Furiosa.