His trusting love of both people and animals makes all who meet him change their lives for the better. Gaston's adventures in modern Japan are presented as a kind of fable, yet, with complete realism and keen social satire. A Peter Owen Modern Classics.

    Italo Calvino's writing explores the fringes of these small, unusual scenes and finds incalculable wisdom and humour there.This book contains The Queen's Necklace and The Workshop Hen.

    Its acknowledged place in Latin American fiction and its appeal to a fresh generation of readers have warranted this new translation by Alfred Mac Adam, translator (with the author) of Fuentes's Christopher Unborn.As in all his fiction, but perhaps most powerfully in this book, Fuentes is a passionate guide to the ironies of Mexican history, the burden of its past, and the anguish of its present.

    Brought to America at the age of two. Eighteen or 20 books of prose and poetry. Bukowski, after publishing prose in Story and Portfolio stopped writing for ten years. He arrived in the charity ward of the Los Angeles County General Hospital, hemorrhaging as a climax of a ten-year drinking bout. Some say he didn't die. After leaving the hospital he got a tyewriter and began writing again - this time, poetry. He later returned to prose and gained some fame with his column, Notes of a Dirty Old Man, which he wrote mainly for the paper, Open City. After 14 years in the Post Office he resigned at age 50, he says, to keep from going insane. He now claims to be unemployable and eats typewriter ribbons. Once married, once divorced, many times shacked, he has a seven-year-old daughter.These dirty and immortal stories appeared mainly in Underground newspapers, with Open City and Nola Express leading in the publication of them. Others have appeared in Evergreen Review, Knight, Pix, Berkeley Barb, Adam, and Adam Reader.With Bukowski, the votes are still coming in. There seems to be no middle ground - people seem either to love him or hate him. Tales of his own life and doings are as wild and weird as the very stories he writes. In a sense, Bukowski is a legend in his time...a madman, a recluse, a lover...tender, vicious...never the same...these are exceptional stories that come pounding out of his violent and depraved life...horrible and holy...you cannot read them and ever come away the same again.

    In these stories, reminiscent of Shirley Jackson and Julio Cortázar, three young friends distract themselves with drugs and pain in the midst a government-enforced blackout; a girl with nothing to lose steps into an abandoned house and never comes back out; to protest a viral form of domestic violence, a group of women set themselves on fire. But alongside the black magic and disturbing disappearances, these stories are fueled by compassion for the frightened and the lost, ultimately bringing these characters—mothers and daughters, husbands and wives—into a surprisingly familiar reality. Written in hypnotic prose that gives grace to the grotesque, Things We Lost in the Fire is a powerful exploration of what happens when our darkest desires are left to roam unchecked, and signals the arrival of an astonishing and necessary voice in contemporary fiction.

    Alternate cover edition can be found here, here, here, hereIn the Oresteia—the only trilogy in Greek drama which survives from antiquity—Aeschylus took as his subject the bloody chain of murder and revenge within the royal family of Argos.Moving from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, their spirit of struggle and regeneration becomes an everlasting song of celebration.

    Upon her mother’s death from Alzheimer’s, Ernaux embarks on a daunting journey back through time, as she seeks to "capture the real woman, the one who existed independently from me, born on the outskirts of a small Normandy town, and who died in the geriatric ward of a hospital in the suburbs of Paris." She explores the bond between mother and daughter, tenuous and unshakable at once, the alienating worlds that separate them, and the inescapable truth that we must lose the ones we love. In this quietly powerful tribute, Ernaux attempts to do her mother the greatest justice she can: to portray her as the individual she was. She writes, "I believe I am writing about my mother because it is my turn to bring her into the world."

    Two young men meet by chance in a Polish resort town in the Carpathian Mountains. Intending to spend their vacation relaxing, they find a secluded family-run pension. But the two become embroiled first in a macabre event on the way to the pension, then in the peculiar activities and psychological travails of the family running it. Gombrowicz offers no solution to their predicament.Cosmos is translated here for the first time directly from the Polish by Danuta Borchardt, translator of Ferdydurke.

    Finally, we got to the hallway where the wooden floor was the creakiest, and we sensed a strange whiff of excitement and fear. It smelled like a creature from a bygone time. It smelled like a dragon."Thirteen-year-old Juan’s summer is off to a terrible start. First, his parents separate. Then, almost as bad, Juan is sent away to his strange Uncle Tito’s house for the entire break! Who wants to live with an oddball recluse who has zigzag eyebrows, drinks fifteen cups of smoky tea a day, and lives inside a huge, mysterious library?As Juan adjusts to his new life among teetering, dusty shelves, he notices something odd: the books move on their own! He rushes to tell Uncle Tito, who lets his nephew in on a secret: Juan is a Princeps Reader, which means books respond magically to him, and he’s the only one who can find the elusive, never-before-read Wild Book. But will Juan and his new friend Catalina get to The Wild Book before the wicked, story-stealing Pirate Book does?An unforgettable adventure story about books, libraries, and the power of reading, The Wild Book is the young readers’ debut by beloved, prize-winning Mexican author Juan Villoro. It has sold over one million copies in Spanish.

    Dover examines the two versions of the play, recounts the history of the text, and analyzes a number of problems surrounding the play's overall interpretation, including the Greek notion of right and wrong, the purpose of the chorus, and Aristophanes' sexual jokes.

    But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    Given surprising leeway by her family for her increasingly erratic behaviour, she nevertheless feels ever more stifled and repressed. Motherhood, womanhood, the banality of love, the terrors of desire, the inexplicable brutality of another person carrying your heart forever Die, My Love faces all this with a raw intensity. It's not a question of if a breaking point will be reached, but rather when and how violent a form will it take?

    Enchanted by her father’s trade, M convinces him to take her along on his routes, selling hardware supplies against the backdrop of Pinochet-era Chile. As father and daughter trek from town to town in their old Renault, M’s memories and thoughts become tied to a language of rural commerce, philosophy, the cosmos, hardware products, and ghosts. M, in her innocence, barely notices the rising tensions and precarious nature of their work until she and her father connect with an enigmatic photographer, E, whose presence threatens to upend the unusual life they’ve created.María José Ferrada expertly captures a vanishing way of life and a father-daughter relationship on the brink of irreversible change. At once nostalgic, dangerous, sharply funny, and full of delight and wonder, How to Order the Universe is a richly imaginative debut and a rare work of magic and originality.

    As he travels towards Rome he wrestles with the enigma of his own identity while pursued by his murderous doppelganger. The monk's only hope for salvation lies with the beautiful Aurelie; but in order to escape the curse which lies over his family, he must evade the sinister powers of the living and the dead. In this lively and disturbing gothic tale, Hoffmann combines elements of the fantastic and the sublime to analyse the seductive ambiguities of art and the deeply divided nature of the human imagination.

    The Carnivorous Lamb, originally written in French, won the Prix Hermes, and this, its 1984 English translation, was widely acclaimed.