Just a few years ago, Iris was confident and in control. But every day since Aaron’s birth, she’s condemned herself for being a failure—a bad parent who cannot cope with a difficult child. Though she loves her son fiercely, she despairs over his intense outbursts, which are becoming increasingly harder to control.One thing that keeps Aaron calm is the large aquarium in Iris’s mother’s home. Iris has never understood why Agatha, usually so detached, would keep an oversize tank filled with exotic tropical fish, and of course, her mother won’t say—until an incident involving one of the fish leads Iris to make a shocking discovery.She has an older brother. His name is Ray.Why did her mother hide Ray’s existence from her? Did her late father know? And why does Agatha still refuse to say anything about Ray?Curious about this sibling she has never known, Iris begins to search for long-buried truths. What she learns surprises—and horrifies—her. Her older brother is autistic—and in a hospital for the criminally insane for brutally murdering his neighbor and her little girl.When she meets Ray, she meets a man who looks heartbreakingly like her own son. A man who is devoted to his tropical fish and who loves baking bread. A man whose naïveté unnerves her. There is no question that Ray is odd and obsessive, unable to communicate like the rest of us. But is he really a killer—“The Monster Next Door,” as the media dubbed him—a beast who committed a brutal murder because of a broken heart?  Told in the alternating voices of Ray and Iris, Girl in the Dark is a compulsive, page-turning thriller about lies, murder, and the tenacity of a family determined to stay together, even as they are pulled apart at the most vulnerable seams.

    But by the Winter of 1943, resistance is growing. Among those fighting their brutal Nazi occupiers are two Jewish sisters, Janny and Lien Brilleslijper from Amsterdam. Risking arrest and death, the sisters help save others, sheltering them in a clandestine safehouse in the woods, they called “The High Nest.”This secret refuge would become one of the most important Jewish safehouses in the country, serving as a hiding place and underground center for resistance partisans as well as artists condemned by Hitler. From The High Nest, an underground web of artists arises, giving hope and light to those  living in terror in Holland as they begin to restore the dazzling pre-war life of Amsterdam and The Hague. When the house and its occupants are eventually betrayed, the most terrifying time of the sisters' lives begins. As Allied troops close in, the Brilleslijper family are rushed onto the last train to Auschwitz, along with Anne Frank and her family. The journey will bring Janny and Lien close to Anne and her older sister Margot. The days ahead will test the sisters beyond human imagination as they are stripped of everything but their courage, their resilience, and their love for each other.Based on meticulous research and unprecedented access to the Brilleslijpers’ personal archives of memoirs and photos, Sisters of Auschwitz is a long-overdue homage to two young women’s heroism and moral bravery—and a reminder of the power each of us has to change the world.

    Sepha is a girl on the run, going from one place to another in hiding with other Jews, helped by members of the Dutch resistance. When the Liberation comes, while it rids the country of Nazi tyranny, it does not rescue Sepha and her circle from their most personal strains and stresses.

    Van der Jagt introduces a host of unforgettable characters and weaves a web of shameful secrets in this novel that uses Vienna the way Kafka used Prague—as the (strangely familiar) landscape where the narrator’s obsessions are given free rein. “Van der Jagt’s dysfunctional family may be the most wondrous and most marvelously entertaining in recent memory. . . . He looses the spirit of J.P. Donleavy—and more—once again upon the world. Wonderful.”—Kirkus Reviews, starred review“Marek’s voice . . . is what gives his romantic misadventures (first kiss, deflowering, anxiety about physical endowment) their fun air of droll farce.”—Entertainment Weekly“Dark, funny and penetrating.”—The New York Observer“Archly tongue in cheek.”—Publishers Weekly“This whimsical novel, written pseudonymously by a Dutch novelist, masquerades as the confessions of an Austrian philosophy student . . . [who] decides to assert his existence by pursuing l’amour fou.”—The New Yorker

    Originally published in the Netherlands in 1978, The Rider became an instant cult classic, selling over 100,000 copies. Brilliantly conceived and written at a breakneck pace, it is a loving, imaginative, and, above all, passionate tribute to the art of bicycle road racing. Not a dry history of the sport, The Rider is beloved as a bicycle odyssey, a literary masterpiece that describes in painstaking detail one 150-kilometer race in a mere 150 pages. We are, every inch of the way, inside amateur biker Tim Krabbé's head as his mind churns at top speed along with his furious peddling. Privy to his every thought-on the glory and vagaries of the sport itself, the weather, the characters and lineage of his rival cyclists, almost hallucinogenic anecdotes about great riders of the past-the book progresses kilometer by kilometer, thought by thought, and the reader is left breathless and exhilarated. A thrillingly realistic look at what it is like to compete in a road race, The Rider is the ultimate book for bike lovers as well as the arm-chair sports enthusiast. Author Biography: Tim Krabbé is one of Holland's leading writers, and his novels are published all over the world. His many books include The Vanishing, which was made into a successful film, and The Cave. He lives in Amsterdam.

    Evacuated in 1944 from the bustling but starving city of Amsterdam to the fertile farmland of Friesland, young Jeroen learns about another way of life and experiences both love and loss as he lives out the final months of the war and welcomes the Allied soldiers who free his country.

    Modern editions use a later revised version printed in 1817 and featuring a gloss. Along with other poems in Lyrical Ballads, it was a signal shift to modern poetry and the beginning of British Romantic literature.It relates the events experienced by a mariner who has returned from a long sea voyage. The Mariner stops a man on his way to a wedding ceremony and begins to narrate a story. The Wedding-Guest's reaction turns from bemusement to impatience, fear, and fascination as the Mariner's story progresses, as can be seen in the language style: for example, the use of narrative techniques such as personification and repetition to create a sense of danger, or the supernatural, or serenity, depending on the mood each different part of the poem.

    It is the day he celebrates his daughter Miriam's seventeenth birthday, meets his old friend Philip - with whom he has been out of touch for eighteen years and who now works for the Israel Ministry of Defense, and crosses paths with Erroll Washington (aka Godzilla) the owner of God's Gym -- a Venice health club Miriam frequents. Philip has sought out Joop for reasons that are more than personal, and Joop, in turn, has no choice but to let himself be carried along by political developments that he has previously tried to avoid, but that now inescapably control his life.

    Can an incestuous relationship be a happy one? Steeped in an unearthly and unsettling Groningen fenland landscape, relationships like that between Victor and his sister tend to mist up the perspectives of the "normal".

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    But the two friends suspect the inhabitants of The Close aren't what they seem. As Keith informs his trusting friend, the district is riddled with secret passages and underground labs.

    Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels.

    By turns shockingly honest, incredibly funny, and clearly unhinged, Rupert's defense includes rants about the properly formed insult and men who wear comfortable sweaters. It also visits the memory-sites of Rupert and Mira's short-lived affair: her apartment, their favorite cafés and restaurants, and the city's public squares.With each story Rupert attaches to these places his defense becomes a little more outlandish, while he becomes increasingly convinced that his innocence is beyond doubt. When he reaches the end of his defense, delivering the decisive blow against his accusers and describing the scene of the crime, the full depth of Rupert's depravity is finally revealed.Rupert: A Confession is a brilliantly composed monologue that fully exposes—despite the misdirection and bizarre revelations of its teller—the innermost workings of a confused mind. Recalling Neil LaBute's In the Company of Men, Rupert: A Confession is simultaneously offensive, funny, and compelling, and it serves as a perfect introduction to one of the most talented and controversial writers at work in the Netherlands today.

    While holding its audience with the gripping tension of a detective thriller, it is also a philosophical play about social conscience and the crumbling of middle class values. Time and the Conways and I Have Been Here Before belong to Priestley's 'time'plays, in which he explores the idea of precognition and pits fate against free will. The Linden Tree also challenges preconceived ideas of history when Professor Linden comes into conflict with his family about how life should be lived after the war.

    The secret marriage of Cymbeline’s daughter, Imogen, triggers much of the action, which includes villainous slander, homicidal jealousy, cross-gender disguise, a deathlike trance, and the appearance of Jupiter in a vision.Cymbeline displays unusually powerful emotions with a tremendous charge. Like some of Shakespeare’s other late work—especially The Winter’s Tale and The Tempest—it is an improbable story lifted into a nearly mythic realm.