Yet like millions of others who suffered during Stalin's reign of terror, she was arrested—on trumped-up charges of being a Trotskyist terrorist and counter-revolutionary—and sentenced to prison. With an amazing eye for detail, profound strength, and an indefatigable spirit, Ginzburg recounts the years, days, and minutes she endured in prisons and labor camps, including two years of solitary confinement. A classic account of survival, Journey into the Whirlwind is considered one of the most important documents of Stalin's regime ever written.

    She accepted the invitation eagerly, though she had every intention of returning home. As it happened, her trip ended four years later in Paris, where she would spend the rest of her life in exile. None of this was foreseeable when she arrived in German-occupied Kiev to discover a hotbed of artistic energy and experimentation. When Kiev fell several months later to Ukrainian nationalists, Teffi fled south to Odessa, then on to the port of Novorossiysk, from which she embarked at last for Constantinople. Danger and death threaten throughout Memories, even as the book displays the brilliant style, keen eye, comic gift, and deep feeling that have made Teffi one of the most beloved of twentieth-century Russian writers.

    Patricia Hampl visits the homes of historic exemplars of ease who made repose a goal, even an art form. She begins with two celebrated eighteenth-century Irish ladies who ran off to live a life of "retirement" in rural Wales. Her search then leads to Moravia to consider the monk-geneticist, Gregor Mendel, and finally to Bordeaux for Michel Montaigne—the hero of this book—who retreated from court life to sit in his chateau tower and write about whatever passed through his mind, thus inventing the personal essay.Hampl's own life winds through these pilgrimages, from childhood days lazing under a neighbor's beechnut tree, to a fascination with monastic life, and then to love—and the loss of that love which forms this book's silver thread of inquiry. Finally, a remembered journey down the Mississippi near home in an old cabin cruiser with her husband turns out, after all her international quests, to be the great adventure of her life.The real job of being human, Hampl finds, is getting lost in thought, something only leisure can provide. The Art of the Wasted Day is a compelling celebration of the purpose and appeal of letting go.

    From the primitive peasant who kills without understanding that he is destroying life to the anxious antihero of Notes from Underground—who both craves and despises affection—the writer's often-tormented characters showcase his evolving outlook on our fate.Thomas Mann described Dostoyevsky as "an author whose Christian sympathy is ordinarily devoted to human misery, sin, vice, the depths of lust and crime, rather than to nobility of body and soul" and Notes from Underground as "an awe- and terror- inspiring example of this sympathy."

    The centerpiece of this collection is the long story "Notes on the Cuff," a comically autobiographical account of how the tenacious young writer managed to begin his literary career despite famine, typhus, civil war, the wrong political affiliation, and the Byzantine Moscow bureaucracy. This stylistically brilliant work was only partially published during Bulgakov's lifetime due to censorship, but was immediately recognized by the literati as an important work. The other stories collected here range from a sequence about the Civil War to Bulgakov's early reportage on the rebuilding of Moscow in the early 1920s, stories which now have a strikingly contemporary ring. Bulgakov describes the swindlers who arrived along with NEP, a program for the limited return to a market economy, as well as the vast reconstruction as the city is brought back from the destruction of civil war. Bulgakov, who burst on the world literary scene in the 1960s with the publication of his long-suppressed The Master and Margarita, has continued to enjoy tremendous success both in and out of Russia where productions of his plays and adaptations of his prose works have found new audiences.

    His unearthly style based on elaborate linguistic riddles and puns fascinated the Surrealists and famously influenced the composition of Marcel Duchamp's -Large Glass, - but also affected writers as diverse as Gide, Robbe-Grillet and Foucault (author of a book-length study of Roussel). The title essay of this collection is the key to Roussel's method, and it is accompanied by selections from all his major works of fiction, drama and poetry, translated by his New York School admirers John Ashbery, Kenneth Koch and Harry Mathews, and the painter and author Trevor Winkfield. Ashbery writes that Roussel's work is -like the perfectly preserved temple of a cult which has disappeared without a trace... we can still admire its inhuman beauty, and be stirred by a language that seems always on the point of revealing its secret.-

    They are to be a sideshow attraction to the rest of the club’s entertainment, and are billed as the “famous singing caryatids.” Things only get weirder from there. Secret ointments, praying mantises, sexual escapades, and grotesque murder are quickly ushered into the plot. The Russian literary master Victor Pelevin holds nothing back, and The Hall of the Singing Caryatids, his most recent story to be translated into English, is sure to make you squirm in your seat with utter delight.

    Through prose that shifts fluidly between dreams and reality, past and present, we travel to Frida Kahlo's Casa Azul in Mexico; to the fertile moon terrain of Iceland; to a ramshackle seaside bungalow in New York's Far Rockaway that Smith acquires just before Hurricane Sandy hits; to the West 4th Street subway station, filled with the sounds of the Velvet Underground after the death of Lou Reed; and to the graves of Genet, Plath, Rimbaud, and Mishima.Woven throughout are reflections on the writer's craft and on artistic creation. Here, too, are singular memories of Smith's life in Michigan and the irremediable loss of her husband, Fred Sonic Smith.Braiding despair with hope and consolation, illustrated with her signature Polaroids, M Train is a meditation on travel, detective shows, literature, and coffee. It is a powerful, deeply moving book by one of the most remarkable multiplatform artists at work today.

    Lynch responds to each recollection and reveals the inner story of the life behind the art.

    Born in the North London suburbs, his parents, Harold and Connie, both teachers, first met as teenage Communists in the 1930s Jewish East End. The family home was filled with stories of relatives in London, the United States and France and of those who had disappeared in Europe.Unlike the children around them, Rosen and his brother Brian grew up dreaming of a socialist revolution; Party meetings were held in the front room, summers were for communist camping holidays, till it all changed after a trip to East Germany, when in 1957 his parents decided to leave “the Party.” Michael followed his own journey of radical self-discovery: running away to the Aldermaston March to ban the bomb, writing and performing in experimental political theatre, getting arrested during the 1968 movements.

    He has been both a socialist opposed to the war in Vietnam and a supporter of the U.S. war against Islamic extremism in Iraq. He has been both a foreign correspondent in some of the world's most dangerous places and a legendary bon vivant with an unquenchable thirst for alcohol and literature. He is a fervent atheist, raised as a Christian, by a mother whose Jewish heritage was not revealed to him until her suicide. In other words, Christopher Hitchens contains multitudes. He sees all sides of an argument. And he believes the personal is political. This is the story of his life, a life lived large.

    Included are theoretical texts, aberrant journalism, and highly-wrought Symbolist poems; a practical guide to building a time machine; and the bizarre dramatic buffoonery that presaged Jarry's invention of his most famous character, Pere Ubu. Andre Breton had to devise his notion of "Black Humor" to adequately describe and account for the arcane absurdity of Jarry's work.

    Written during this time, this is the account of prison life and the people he encountered.There is the guard who delivers blows with no visible traces. The fraudster stitched up by the police for murder. The man who refuses to lie for a packet of cigarettes. The abandoned teenager, the down-and-out, the grass... He describes a hidden world of brutality and corruption, yet one where moments of humanity still manage to shine through.One in ten Russian men pass through prison at some point in their lives. This book is a denunciation of an entire system of bureaucratic criminality, and a passionate call to recognise a human tragedy.

    Svidrigailov simply is the most memorable figure in the book, obscuring Raskolnikov, who after all is the protagonist, a hero-villain, and a kind of surrogate for Dostoevsky himself.

    Introduction by George Stade.