Suddenly left abandoned and penniless in Morocco by her lover, Sira Quiroga forges a new identity. Against all odds she becomes the most sought-after couture designer for the socialite wives of German Nazi officers. But she is soon embroiled in a dangerous political conspiracy as she passes information to the British Secret Service through a code stitched into the hems of her dresses.

    It is a masterpiece from one of the world's most innovative writers.

    Inside is an invitation – to a meeting with Life. Her life. It turns out she's been ignoring it and it needs to meet with her face to face.It sounds peculiar, but Lucy’s read about this in a magazine. Anyway, she can’t make the date: she’s much too busy despising her job, skipping out on her friends and avoiding her family.But Lucy’s life isn’t what it seems. Some of the choices she’s made – and stories she’s told – aren’t what they seem either. From the moment she meets the man who introduces himself as her life, her stubborn half-truths are going to be revealed in all their glory – unless Lucy learns to tell the truth about what really matters to her.

      With the world slowly sliding into war, it is crucial that enemies of the Reich flee Europe at once. But so many routes are closed, and so much money is needed. Then one night in Lisbon, as a poor young refugee gazes hungrily at a boat bound for America, a stranger approaches him with two tickets and a story to tell.   It is a harrowing tale of bravery and butchery, daring and death, in which the price of love is beyond measure and the legacy of evil is infinite. As the refugee listens spellbound to the desperate teller, in a matter of hours the two form a unique and unshakable bond—one that will last all their lives.

    Olga Grushin is dealing with issues of women’s identity, of women’s choices, that no modern novel has explored so deeply. “Forty rooms” is a conceit: it proposes that a modern woman will inhabit forty rooms in her lifetime. They form her biography, from childhood to death. For our protagonist, the much-loved child of a late marriage, the first rooms she is aware of as she nears the age of five are those that make up her family’s Moscow apartment. We follow this child as she reaches adolescence, leaves home to study in America, and slowly discovers sexual happiness and love. But her hunger for adventure and her longing to be a great poet conspire to kill the affair. She seems to have made her choice. But one day she runs into a college classmate. He is sure of his path through life, and he is protective of her. (He is also a great cook.) They drift into an affair and marriage. What follows are the decades of births and deaths, the celebrations, material accumulations, and home comforts—until one day, her children grown and gone, her husband absent, she finds herself alone except for the ghosts of her youth, who have come back to haunt and even taunt her. Compelling and complex, Forty Rooms is also profoundly affecting, its ending shattering but true. We know that Mrs. Caldwell (for that is the only name by which we know her) has died. Was it a life well lived? Quite likely. Was it a life complete? Does such a life ever really exist? Life is, after all, full of trade-offs and choices. Who is to say her path was not well taken? It is this ambiguity that is at the heart of this provocative novel.

    Krúdy conjures up a world that is entirely his own—dreamy, macabre, comic, and erotic—where urbane sophistication can erupt without warning into passion and even madness.In Sunflower young Eveline leaves the city and returns to her country estate to escape the memory of her desperate love for the unscrupulous charmer Kálmán. There she encounters the melancholy Álmos-Dreamer, who is languishing for love of her, and is visited by the bizarre and beautiful Miss Maszkerádi, a woman who is a force of nature. The plot twists and turns; elemental myth mingles with sheer farce: Krúdy brilliantly illuminates the shifting contours and acid colors of the landscape of desire.John Bátki’s outstanding translation of Sunflower is the perfect introduction to the world of Gyula Krúdy, a genius as singular as Robert Walser, Bruno Schulz, or Joseph Roth.

    Two readers. A world of mystery, menace, and desire.A young woman picks up a book left behind by a stranger. Inside it are his margin notes, which reveal a reader entranced by the story and by its mysterious author. She responds with notes of her own, leaving the book for the stranger, and so begins an unlikely conversation that plunges them both into the unknown.THE BOOK: Ship of Theseus, the final novel by a prolific but enigmatic writer named V. M. Straka, in which a man with no past is shanghaied onto a strange ship with a monstrous crew and launched onto a disorienting and perilous journey.THE WRITER: Straka, the incendiary and secretive subject of one of the world’s greatest mysteries, a revolutionary about whom the world knows nothing apart from the words he wrote and the rumours that swirl around him.THE READERS: Jennifer and Eric, a college senior and a disgraced grad student, both facing crucial decisions about who they are, who they might become, and how much they’re willing to trust another person with their passions, hurts, and fears. S. , conceived by filmmaker J. J. Abrams and written by award-winning novelist Doug Dorst, is the chronicle of two readers finding each other in the margins of a book and enmeshing themselves in a deadly struggle between forces they don’t understand. It is also Abrams and Dorst’s love letter to the written word.

    A twenty-five-year-old Aramaic scholar, Antoine has had it with being brilliant and deeply self-aware in today's culture. So tortured is he by the depth of his perception and understanding of himself and the world around him that he vows to denounce his intelligence by any means necessary in order to become stupid enough to be a happy, functioning member of society. What follows is a dark and hilarious odyssey as Antoine tries everything from alcoholism to stock-trading in order to lighten the burden of his brain on his soul.

    Four boys becoming men: Juice Terry, the work-shy fanny-merchant, with corkscrew curls and sticky fingers; Billy the boxer: driven, controlled, playing to his strengths; Carl, the Milky Bar Kid, drifting along to his own soundtrack; and the doomed Gally - who has one less skin than everyone else and seems to find catastrophe at every corner. As we follow their lives from the seventies into the new century - from punk to techno, from speed to Es - we can see each of them trying to struggle out from under the weight of the conditioning of class and culture, peer pressure and their parents' hopes that maybe their sons will do better than they did. What binds the four of them is the friendship formed by the scheme, their school, and their ambition to escape from both; their loyalty fused in street morality: back up your mates, don't hit women and, most importantly, never grass - on anyone. Despite its scale and ambition, Glue has all Irvine Welsh's usual pace and vigour, crackling dialogue, scabrous set-pieces and black, black humour, but it is also a grown-up book about growing up - about the way we live our lives, and what happens to us when things become unstuck.

    Autoportrait is a physical, psychological, sexual, political, and philosophical triumph. Beyond "sincerity," Levé works toward an objectivity so radical it could pass for crudeness, triviality, even banality: the author has stripped himself bare. With the force of a set of maxims or morals, Levé's prose seems at first to be an autobiography without sentiment, as though written by a machine—until, through the accumulation of detail, and the author's dry, quizzical tone, we find ourselves disarmed, enthralled, and enraptured by nothing less than the perfect fiction . . . made entirely of facts.

    Told by a narrator who has committed a botched robbery and brutal murder, the novel follows him and his adventures in a two-dimensional police station where, through the theories of the scientist/philosopher de Selby, he is introduced to "Atomic Theory" and its relation to bicycles, the existence of eternity (which turns out to be just down the road), and de Selby's view that the earth is not round but "sausage-shaped." With the help of his newly found soul named "Joe," he grapples with the riddles andcontradictions that three eccentric policeman present to him.The last of O'Brien's novels to be published, The Third Policeman joins O'Brien's other fiction (At Swim-Two-Birds, The Poor Mouth, The Hard Life, The Best of Myles, The Dalkey Archive) to ensure his place, along with James Joyce and Samuel Beckett, as one of Ireland's great comic geniuses.

    Most memorable - and most chilling - is the portrait of the author's father, a maddened shopkeeper who imports rare birds' eggs to hatch in his attic, who believes tailors' dummies should be treated like people, and whose obsessive fear of cockroaches causes him to resemble one. Bruno Schulz, a Polish Jew killed by the Nazis in 1942, is considered by many to have been the leading Polish writer between the two world wars.Bruno Schulz's untimely death at the hands of a Nazi stands as one of the great losses to modern literature. During his lifetime, his work found little critical regard, but word of his remarkable talents gradually won him an international readership. This volume brings together his complete fiction, including three short stories and his final surviving work, Sanatorium Under the Sign of the Hourglass. Illustrated with Schulz's original drawings, this edition beautifully showcases the distinctive surrealist vision of one of the twentieth century's most gifted and influential writers.

    Malinalli's Indian tribe has been conquered by the warrior Aztecs. When her father is killed in battle, she is raised by her wisewoman grandmother who imparts to her the knowledge that their founding forefather god, Quetzalcoatl, had abandoned them after being made drunk by a trickster god and committing incest with his sister. But he was determined to return with the rising sun and save her tribe from their present captivity. When Malinalli meets Cortez she, like many, suspects that he is the returning Quetzalcoatl, and assumes her task is to welcome him and help him destroy the Aztec empire and free her people. The two fall passionately in love, but Malinalli gradually comes to realize that Cortez's thirst for conquest is all too human, and that for gold and power, he is willing to destroy anyone, even his own men, even their own love.

    Although he would prefer to write short stories, he earns a living composing obituaries for a newspaper. He longs to see his work published, yet the subjects of his obituaries continue to cling to life. But when he opens the newspaper to see his work in print for the first time, his pride swiftly turns to terror. He and Misha have been drawn into a trap from which there appears to be no escape.

    Readers and critics were enchanted; as NPR commented, “Towles writes with grace and verve about the mores and manners of a society on the cusp of radical change.”A Gentleman in Moscow immerses us in another elegantly drawn era with the story of Count Alexander Rostov. When, in 1922, he is deemed an unrepentant aristocrat by a Bolshevik tribunal, the count is sentenced to house arrest in the Metropol, a grand hotel across the street from the Kremlin. Rostov, an indomitable man of erudition and wit, has never worked a day in his life, and must now live in an attic room while some of the most tumultuous decades in Russian history are unfolding outside the hotel’s doors. Unexpectedly, his reduced circumstances provide him a doorway into a much larger world of emotional discovery.Brimming with humour, a glittering cast of characters, and one beautifully rendered scene after another, this singular novel casts a spell as it relates the count’s endeavour to gain a deeper understanding of what it means to be a man of purpose.