In some ways, the media frenzy over the rating overshadowed the harrowing portrait of teenagers destroying their lives and the then twenty-one-year-old screenwriter who created them. "Whether you see the movie as a masterpiece or as sensationalism," wrote Lynn Hirshberg, "the movie is relentless and brilliant and extremely disturbing. It's powerful-both steel-eyed and sexy; horrifying and captivating."Now, in this first book of fictional set pieces, Korine captures the fragmented moments of a life observed through the demented lens of media, TV, and teen obsession. Korine reinvents the novel in this highly experimental montage of scenes that seem both real and surreal at the same time. With a filmmaker's eye and a prankster's glee, this bizarre collection of jokes, half-remembered scenes, dialogue fragments, movie ideas, and suicide notes is an episodic, epigrammatic lovesong to the world of images. Korine is the voice of his media-savvy generation and A Crack-Up at the Race Riots is the satiric lovechild of his dark imagination.

    When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear--they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya's girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky's long-awaited Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.Finalist for the T. S. Eliot PrizeFinalist for the Forward Prize for Best Collection

    Visual Poetry. Long-cherished in out-of-print editions, anthologies and text books, and more recently celebrated on the internet, Aram Saroyan's groundbreaking concrete and minimalist poems of the 1960s are gathered together here in a single, much-needed volume. COMPLETE MINIMAL POEMS includes the entire contents of Aram Saroyan (Random House, 1968), Pages (Random House, 1969), The Rest (Telegraph, 1971), as well as Saroyan's contribution, "Electric Poems," to the anthology All Stars (Goliard-Grossman, 1972), and a sequence, "Short Poems," which hasn't appeared previously. With ties to the work of such writers and artists as e.e. cummings, Andy Warhol, Gertrude Stein, Donald Judd, Ian Hamilton Finlay and Steve Reich, COMPLETE MINIMAL POEMS confirms Aram Saroyan's place among the most daring and engaging figures in modern poetry.

    This selection is from L’Espace du Dedans, which collected eight books of prose poems, sketches and free verse. Brilliantly translated by Richard Ellmann, Michaux asks readers to join him in a fantastic world of the imagination. It is a world where wry humor plays against horror––where Chaplin meets Kafka––a world of pure and rare invention.

    Not that it matters to anyone living in the House, a hulking old structure that its residents know is alive. From the corridors and crawl spaces to the classrooms and dorms, the House is full of tribes, tinctures, scared teachers, and laws—all seen and understood through a prismatic array of teenagers’ eyes.But student deaths and mounting pressure from the Outsides put the time-defying order of the House in danger. As the tribe leaders struggle to maintain power, they defer to the awesome power of the House, attempting to make it through days and nights that pass in ways that clocks and watches cannot record.

    His best-known work tells the tale of Rubashov, a Bolshevik 1917 revolutionary who is cast out, imprisoned and tried for treason by the Soviet government he'd helped create.Darkness at Noon stands as an unequaled fictional portrayal of the nightmare politics of our time. Its hero is an aging revolutionary, imprisoned and psychologically tortured by the Party to which he has dedicated his life. As the pressure to confess preposterous crimes increases, he relives a career that embodies the terrible ironies and human betrayals of a totalitarian movement masking itself as an instrument of deliverance. Almost unbearably vivid in its depiction of one man's solitary agony, it asks questions about ends and means that have relevance not only for the past but for the perilous present. It is —- as the Times Literary Supplement has declared —- "A remarkable book, a grimly fascinating interpretation of the logic of the Russian Revolution, indeed of all revolutionary dictatorships, and at the same time a tense and subtly intellectualized drama."

    Set far from Moscow in the remote Kazakhstan capital of Alma-Ata, The Keeper of Antiquities begins with a leisurely, almost scholarly air - like a devious story by Borges. But very soon we find ourselves watching with horror as professional rivalry between the keeper of the town's museum and the chief librarian turns into a deadly struggle for control over the meaning of the past - and therefore over the present.While Dombrovsky does not have the wit, the suave cynicism of Bulgakov, he is-or was-immensely drawn to the tragi-comic potential of the bureaucratic flap, endemically Russian. Water boils drearily for tea in noisily peopled conferences; lank-jawed, heavily smoking females whine and bark in outrage; minor officials threaten and soothe; mass grievances are unburdened. The narrator is an open-hearted, straightforward young man with the title of Keeper of Antiquities in the archaeological section of a museum in rural Soviet Central Asia. The Keeper is moderately happy in his eyrie of catalogues and modest displays, sharing varieties of pickling alcohol with an earthy old carpenter and enjoying a secret hoard of carnival views of ""Beauties of the World"" in their natural state. His aim is to go quietly on his way ""without interfering with anybody."" But ""Your business is history"" to prove and demonstrate, and there is no escape. An attempt to improve the local library by a critical comment; the friendship with a collective brigade leader whose brother was shot (unjustly?) as a traitor; the defense of a young archaeologist fired by the library-all forbode disaster. The keeper of pristine truths unsullied by expedient exploitation thinks of flight, but in the end simply waits for the closing in of ""history,"" party style. A spirited, often anguished, indictment of mindless officialdom wherever it appears.

    

    It includes The Autobiography of Alice B. Toklas in its entirety; selected passages from The Making of Americans; "Melanctha"from Three Lives; portraits of the painters Cezanne, Matisse, and Picasso; Tender Buttons; the opera Four Saints in Three Acts; and poem, plays, lectures, articles, sketches, and a generous portion of her famous book on the Occupation of France, Wars I Have Seen.

    With a different die-cut on every page, Tree of Codes explores previously unchartered literary territory. Initially deemed impossible to make, the book is a first — as much a sculptural object as it is a work of masterful storytelling. Tree of Codes is the story of an enormous last day of life — as one character's life is chased to extinction, Foer multi-layers the story with immense, anxious, at times disorientating imagery, crossing both a sense of time and place, making the story of one person’s last day everyone’s story. Inspired to exhume a new story from an existing text, Jonathan Safran Foer has taken his "favorite" book, The Street of Crocodiles by Polish-Jewish writer Bruno Schulz, and used it as a canvas, cutting into and out of the pages, to arrive at an original new story told in Jonathan Safran Foer's own acclaimed voice.

    Stigmata brings together her most recent essays for the first time.Acclaimed for her intricate and challenging writing style, Cixous presents a collection of texts that get away -- escaping the reader, the writers, the book. Cixous's writing pursues authors such as Stendhal, Joyce, Derrida, and Rembrandt, da Vinci, Picasso -- works that share an elusive movement in spite of striking differences. Along the way these essays explore a broad range of poetico-philosophical questions that have become characteristic of Cixous' work: * love's labours lost and found* feminine hours* autobiographies of writing* the prehistory of the work of artStigmata goes beyond theory, becoming an extraordinary writer's testimony to our lives and our times.

    Even as he grounded his narratives in the intimate daily life of Germany, Broch was identifying the oceanic changes that would shortly sweep that life into the abyss.Whether he is writing about a neurotic army officer The Romantic, a disgruntled bookkeeper and would-be assassin The Anarchist, or an opportunistic war-deserter The Realist, Broch immerses himself in the twists of his characters psyches, and at the same time soars above them, to produce a prophetic portrait of a world tormented by its loss of faith, morals, and reason.

    Written between 1932 and 1940, Blanchot's first novel, here brilliantly translated by Robert Lamberton, contains all the remarkable aspects of his famous and perplexing invention, the ontological narrative--a tale whose subject is the nature of being itself. This paradoxical work discovers being in the absence of being, mystery in the absence of mystery, both to be searched for limitlessly. As Blanchot launches this endless search in his own masterful way, he transforms the possibilities of the novel. First issued in English in 1973 in a limited edition, this re-issue includes an illuminating essay on translation by Lamberton.

    Fantastical and wonderfully strange, this political parable has an uncanny resonance with today's Russia under Putin.Oleg Kashin is a famous Russian journalist and activist who, in 2010, was beaten to within an inch of his life by unknown assailants, in an attack most likely politically motivated by his reporting. The events of Fardwor, Russia! (the title is taken from a flag with a slogan—"Forward, Russia!"—gone wrong) could seem grotesque, if they did not so eerily echo the absurd state of affairs in modern Russia. Under Putin's regime, authors dare to criticize the state of affairs and affairs of the state only through veiled satire&—and even then, as Kashin's experience shows, the threat of repercussions is real.A witty, playful, brave, and incisive work that blends science fiction with political satire, Fardwor, Russia! is a must-read for anyone interested in contemporary Russia&—or the hilarious and frightening follies of power.

    Zhivago for its portrayal of Stalin's Russia, Generations of Winter is the romantic saga of the Gradov family from 1925 to 1945.