His best-known work tells the tale of Rubashov, a Bolshevik 1917 revolutionary who is cast out, imprisoned and tried for treason by the Soviet government he'd helped create.Darkness at Noon stands as an unequaled fictional portrayal of the nightmare politics of our time. Its hero is an aging revolutionary, imprisoned and psychologically tortured by the Party to which he has dedicated his life. As the pressure to confess preposterous crimes increases, he relives a career that embodies the terrible ironies and human betrayals of a totalitarian movement masking itself as an instrument of deliverance. Almost unbearably vivid in its depiction of one man's solitary agony, it asks questions about ends and means that have relevance not only for the past but for the perilous present. It is —- as the Times Literary Supplement has declared —- "A remarkable book, a grimly fascinating interpretation of the logic of the Russian Revolution, indeed of all revolutionary dictatorships, and at the same time a tense and subtly intellectualized drama."

    It tells of a young woman’s passionate love, held like a fortress against the corrupting evil of a totalitarian state.We the Living is not a story of politics, but of the men and women who have to struggle for existence behind the Red banners and slogans. It is a picture of what those slogans do to human beings. What happens to the defiant ones? What happens to those who succumb? Against a vivid panorama of political revolution and personal revolt, Ayn Rand shows what the theory of socialism means in practice.

    Rosewater (1965) presents Eliot Rosewater, an itinerant, semi-crazed millionaire wandering the country in search of heritage and philanthropic outcome, introducing the science fiction writer Kilgore Trout to the world and Vonnegut to the collegiate audience which would soon make him a cult writer.Trout, modeled according to Vonnegut on the science fiction writer Theodore Sturgeon (with whom Vonnegut had an occasional relationship) is a desperate, impoverished but visionary hack writer who functions for Eliot Rosewater as both conscience and horrid example. Rosewater, seeking to put his inheritance to some meaningful use (his father was an entrepreneur), tries to do good within the context of almost illimitable cynicism and corruption.It is in this novel that Rosewater wanders into a science fiction conference--an actual annual event in Milford, Pennsylvania--and at the motel delivers his famous monologue evoked by science fiction writers and critics for almost half a century: "None of you can write for sour apples... but you're the only people trying to come to terms with the really terrific things which are happening today." Money does not drive Mr. Rosewater (or the corrupt lawyer who tries to shape the Rosewater fortune) so much as outrage at the human condition. The novel was adapted for a 1979 Alan Menken musical. The novel is told mostly thru a collection of short stories dealing with Eliot's interactions with the citizens of Rosewater County, usually with the last sentence serving as a punch line. The antagonist's tale, Mushari's, is told in a similar short essay fashion. The stories reveal different hypocrisies of humankind in a darkly humorous fashion.

    Scott Fitzgerald's romantic and witty first novel, was written when the author was only twenty-three years old. This semi-autobiographical story of the handsome, indulged, and idealistic Princeton student Amory Blaine received critical raves and catapulted Fitzgerald to instant fame. Now, readers can enjoy the newly edited, authorized version of this early classic of the Jazz Age, based on Fitzgerald's original manuscript. In this definitive text, This Side of Paradise captures the rhythms and romance of Fitzgerald's youth and offers a poignant portrait of the "Lost Generation."

    Three years later he completed the greatest novel to emerge from "the good fight," For Whom the Bell Tolls. The story of Robert Jordan, a young American in the International Brigades attached to an antifascist guerilla unit in the mountains of Spain, it tells of loyalty and courage, love and defeat, and the tragic death of an ideal. In his portrayal of Jordan's love for the beautiful Maria and his superb account of El Sordo's last stand, in his brilliant travesty of La Pasionaria and his unwillingness to believe in blind faith, Hemingway surpasses his achievement in The Sun Also Rises and A Farewell to Arms to create a work at once rare and beautiful, strong and brutal, compassionate, moving and wise. "If the function of a writer is to reveal reality," Maxwell Perkins wrote to Hemingway after reading the manuscript, "no one ever so completely performed it." Greater in power, broader in scope, and more intensely emotional than any of the author's previous works, it stands as one of the best war novels of all time.

    Andrei is a model Soviet citizen, a swaggeringly self-satisfied mogul of the food industry who intends to revolutionize modern life with mass-produced sausage. Nikolai is a loser. Finding him drunk in the gutter, Andrei gives him a bed for the night and a job as a gofer. Nikolai takes what he can, but that doesn't mean he's grateful. Griping, sulking, grovelingly abject, he despises everything Andrei believes in, even if he envies him his every breath.Producer and sponger, insider and outcast, master and man fight back and forth in the pages of Olesha's anarchic comedy. It is a contest of wills in which nothing is sure except the incorrigible human heart.Marian Schwartz's new English translation of Envy brilliantly captures the energy of Olesha's masterpiece.A NEW YORK REVIEW BOOKS ORIGINAL

    Her thoughts are taken up with the costumes she is making for the church school play, by the hopelessness of preaching to the poor and by debts she cannot pay in 1930s Depression England. Suddenly her routine shatters and Dorothy finds herself down and out in London. She is wearing silk stockings, has money in her pocket and cannot remember her name. Orwell leads us through a landscape of unemployment, poverty and hunger, where Dorothy's faith is challenged by a social reality that changes her life.

    Sent to the state university to study agronomy, he instead falls in love with English literature and embraces a scholar’s life, so different from the hardscrabble existence he has known. And yet as the years pass, Stoner encounters a succession of disappointments: marriage into a “proper” family estranges him from his parents; his career is stymied; his wife and daughter turn coldly away from him; a transforming experience of new love ends under threat of scandal. Driven ever deeper within himself, Stoner rediscovers the stoic silence of his forebears and confronts an essential solitude.John Williams’s luminous and deeply moving novel is a work of quiet perfection. William Stoner emerges from it not only as an archetypal American, but as an unlikely existential hero, standing, like a figure in a painting by Edward Hopper, in stark relief against an unforgiving world.

    And nice girls don't, except, of course, Holly Golightly. Pursued by Mafia gangsters and playboy millionaires, Holly is a fragile eyeful of tawny hair and turned-up nose, a heart-breaker, a perplexer, a traveller, a tease. She is irrepressibly 'top banana in the shock department', and one of the shining flowers of American fiction.This edition also contains three stories: 'House of Flowers', 'A Diamond Guitar' and 'A Christmas Memory'.

    Maxim Gorky, pseudonym of Alexei Maksimovich Peshkov, Soviet novelist, playwright and essayist, who was a founder of social realism. Although known principally as a writer, he was closely associated with the tumultuous revolutionary period of his own country. The Mother, one of his best-known works, is the story of the radicalization of an uneducated woman that was later taken as a model for the Socialist Realist novel, and his autobiographical masterpiece Childhood.

    However, Life and Fate is only the second half of a two-part work, the first half of which was published in 1952. Grossman wanted to call this earlier work Stalingrad—as it will be in this first English translation—but it was published as For a Just Cause. The characters in both novels are largely the same and so is the story line; Life and Fate picks up where Stalingrad ends, in late September 1942. The first novel is in no way inferior to Life and Fate; the chapters about the Shaposhnikov family are both tender and witty, and the battle scenes are vivid and moving. One of the most memorable chapters of Life and Fate is the last letter written from a Jewish ghetto by Viktor Shtrum’s mother—a powerful lament for East European Jewry. The words of this letter do not appear in Stalingrad, yet the letter’s presence makes itself powerfully felt and it is mentioned many times. We learn who carries it across the front lines, who passes it on to whom, and how it eventually reaches Viktor. Grossman describes the difficulty Viktor experiences in reading it and his inability to talk about it even to his family. The absence of the letter itself is eloquent—as if its contents are too awful for anyone to take in.

    The prospect of a summer job as a tour guide at the Pushkin Hills Preserve offers him hope of regaining some balance in life as his wife makes plans to emigrate to the West with their daughter Masha, but during Alikhanov’s stay in the rural estate of Mikhaylovskoye, his life continues to unravel.Populated with unforgettable characters—including Alikhanov’s fellow guides Mitrofanov and Pototsky, and the KGB officer Belyaev—Pushkin Hills ranks among Dovlatov’s renowned works The Suitcase and The Zone as his most personal and poignant portrayal of the Russian attitude towards life and art.

    In the character of its protagonist, Pechorin, the archetypal Russian antihero, Lermontov's novel looks forward to the subsequent glories and passion of Russian literature that it helped, in great measure, to make possible.

    Scrupulously following the fluidity and breathlessness of the sparsely punctuated original manuscript, Mark Harman’s new translation reveals levels of comedy, energy, and visual power, previously unknown to English language readers.

    In The Captive, Proust’s narrator describes living in his mother’s Paris apartment with his lover, Albertine, and subsequently falling out of love with her. In The Fugitive, the narrator loses Albertine forever. Rich with irony, The Captive and The Fugitive inspire meditations on desire, sexual love, music, and the art of introspection. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin’s acclaimed reworking of C. K. Scott Moncrieff’s translation to take into account the new definitive French editions of Á la recherché du temps perdu (the final volume of these new editions was published by the Bibliothèque de la Pléiade in 1989).