It strikes a powerful, closing chord to the formidable theatrical work that began with Deathwatch and continued, with even bolder variations, in The Maids, The Balcony, and The Blacks.Explicitly political, The Screens is set within the context of the Algerian War. The play’s cast of over fifty characters moves through seventeen scenes, the world of the living breaching the world of the dead by means of shifting the screens—the only scenery—in a brilliant tour de force of spectacle and drama.

    They never dreamed they would find Louise: a quiet, polite, devoted woman who sings to the children, cleans the family's chic apartment in Paris's upscale tenth arrondissement, stays late without complaint, and hosts enviable kiddie parties. But as the couple and the nanny become more dependent on one another, jealousy, resentment, and suspicions mount, shattering the idyllic tableau.

    In these stories spanning his long career from the 1960s to the present, he gives us a gallery of people searching, in love, for escape: factory girls on their day off and assembly-line workers lost in Walter-Mittyesque fantasies; a young woman on a honeymoon with the man she did not marry; a divorce-court judge whose mistress cannot understand his affection for the routines of his marriage; a young wife who falls into a passionate affair with an elderly bookbinder crippled by war. Lovers for a Day is a book stamped with Klima's unique wisdom, a personal history of a national evolution and an acute and moving examination of our attempts to find freedom in love. "Ivan Klima's view of love is often witty, sometimes playful, and has a convincing sense of the erotic....[and] the kindness that can endure between a husband and wife long after the passion has fled." -- Andrew Miller, The New York Times Book Review; "Klima has evolved differently from his contemporaries.... Rather than become embittered by his country's past, Klima has come to a truce with imperfection -- the imperfection of history and of love." -- Jennie Yabroff, San Francisco Chronicle

    Her latest work, Hammerklavier, is a bittersweet collection of autobiographical sketches that have love, loss, and the relentless passage of time as their themes. Convinced that one's deepest thoughts can be said simply, Reza does so with unequaled humor and perceptiveness. She contemplates evanescence and death in her young daughter's toothless smile, secretly mourning that it will inevitably change. In the title story, the sometimes adversarial but very loving relationship Reza shared with her father is examined in terms of their love of music.

    This satirical novel tells the story of the surgical transformation of a dog into a man, and is an obvious criticism of Soviet society, especially the new rich that arose after the Bolshevik revolution.

    Bug-Jargal is one of the most important works of nineteenth-century colonial fiction, and quite possibly the most sustained novelistic treatment of the Haitian Revolution by a major European author.

    Scenes from a Childhood draws together a number of Fosse's most powerful short pieces, spanning his entire career. In the title work, we are presented with a loosely autobiographical narrative strand made up of multiple shards of memory covering infancy to awkward adolescence. The collection also contains Fosse's haunting and dream-like novella And Then My Dog Will Come Back for Me, along with his first published story, `Him', written in 1981. Taken from various sources, this will be the first time that these pieces appear alongside each other in the same collection, offering readers the chance to discover the best of Fosse's inimitable spare and poetic prose

    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.-

    This collection brings together some of the most well known stories of M T Vasudevan Nair, fairly representative of his literary works. Written over a broad span of time from 1962 to 2000, the stories collected here reflect the built-in variety of his fictional concerns and the changing tones of his narration.

    This is a story of jewellery, of love, of denial, of society that aims to have the simplicity of a fairy tale and the elegance of an eighteenth century roman-a-clef.

    In making their selections, the editors have chosen the voices of seventeen poets and translators (Paul Auster, Samuel Beckett, Cid Corman, Eugene Jolas, W.S. Merwin, William Carlos Williams, and James Wright, to name a few), in homage to a writer long held in highest esteem by the literary avant-garde.

    But I have drunk far more than most drinkers. All my life I have seen only troubled times, extreme divisions in society, and immense destruction; I have joined in these troubles. My method will be very simple. I will tell of what I have loved; and, in this light, everything else will become evident... Over the years, more than half the people I knew well had sojourned one or several times in the prisons of various countries; many, no doubt, for political reasons, but all the same a greater number for common law offenses or crimes. So I met mainly rebels or the poor. Our only manifestations, which remained rather rare and bried in the first years, were meant to be completely unacceptable; at first, especially by their form and, later, as they acquired depth, especially by their content. They were not accepted.” –Guy DebordGuy Debord, as founding and pivotal figure of the Situationist International, pursued one of the twentieth century’s most arch and exciting assaults on modern life. His 1967 Society of the Spectacle (followed, twenty years later, by Comments on the Society of the Spectacle) was a fierce critique of late-capitalist culture and became the signal text for those involved in the political events of May 1968 and beyond.Panegyric is Debord’s audacious autobiography, and here for the first time in English is the second, beautifully illustrated volume published together with the spare and classical text of the first. A rare combination of poetry and precision, it tells of something even rarer: a life that refused to adjust to the dominant malignancies of its time.

    Texts are in the original Middle English, and each has an introduction, detailed notes and a glossary. Selected titles are also available as CD recordings.

    Every day, Thibault, a paramedic, drives where his dispatcher directs him, fighting traffic to attend to disasters. For many of the people he rushes to treat, he represents the only human connection in their day. Mathilde and Thibault are just two figures being pushed and shoved in a lonesome, crowded city. But what might happen if these two souls, traveling their separate paths, could meet?Delphine de Vigan's novel tells of urban isolation with poetic precision and resilient humor, in the much lauded follow-up to her bestselling No and Me.Praise for No and Me:"Thought-provoking and often poetic musings about No's life challenge readers to rethink their responsibilities to humankind...Quiet yet gripping."-Kirkus Reviews "All ages will find much to relish in this deceptively simple tale that is touching and enlightening." -Herald (Scotland)

    And business is brisk at The Suicide Shop. Run by the Tuvache family for generations, the shop offers an amazing variety of ways to end it all, with something to fit every budget. The Tuvaches go mournfully about their business, taking pride in the morbid service they provide. Until the youngest member of the family threatens to destroy their contented misery by confronting them with something they ve never encountered before: a love of life.