The introduction to this work by Eugene Mason gives an excellent account of Wace and the background behind this historical work. Wace begins his history of the Britons as follows. “Constantine came to Totnes, and many a stout knight with him—there was not one but was worthy of the kingship. The host set forth towards London, and sent messages in every part, bidding the Britons to their aid, for as yet they were too fearful to come from their secret places. When the Britons heard these tidings they drew, thick as rain, from the woodlands and the mountain, and came before the host in troops and companies. To make short a long matter, these marched so far and wrought such deeds that in the end they altogether discomfited those evil men who had done such sore mischief to the land. After these things they held a great council at Cirencester, commanding thereto all the lords and barons of the realm. In that place they chose Constantine as their king.”

    Full of seedy noir atmospherics and boasting an air of generalized delirium, the book starts by introducing us to a nameless young German who has just arrived in America, where he hopes to get over the collapse of his marriage. No sooner has he arrived however, than he discovers that his ex-wife is pursuing him. He flees, she follows, and soon the couple is running circles around each other across the length of America—from Philadelphia to St. Louis to the Arizona desert, and from Portland, Oregon, to L.A. Is it love or vengeance that they want from each other? Everything’s spectacularly unclear in a book that is travelogue, suspense story, domestic comedy, and Western showdown, with a totally unexpected Hollywood twist at the end. Above all, Short Letter, Long Farewell is a love letter to America, its landscapes and popular culture, the invitation and the threat of its newness and wildness and emptiness, with the promise of a new life—or the corpse of an old one—lying just around the corner.

    Seemingly cursed with the inability to have children, the couple find themselves having to take responsibility for Sosuke's younger brother Koroku. Oyone's health begins to fail, and news that her estranged ex-husband will be visiting nearby finally promotes a sense of crisis in Sosuke and forces him temporarily to quit his life of quiet domesticity. Highly prized for the beauty of its description of the understated love between Sosuke and Oyone, the novel has nevertheless remained in many ways mysterious. An analysis of the novel by Damian Flanagan casts fresh insights into its complex symbolism and ideas, establishing The Gate as one of the most profound works of the modern age. Published in cooperation with the Japan Foundation and the Sasakawa Foundation, this novel is part of an international program to bring one of Japan's most popular author to a new international audience.

    Includes "There's a certain slant of light," "Because I could not stop for death," "It was not death for I stood up."

    Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

    Rilke is unquestionably the most significant and compelling poet of romantic transformation, of spiritual quest, that the twentieth century has known. His poems of ecstatic identification with the world exert a seemingly endless fascination for contemporary readers.In Stephen Mitchell’s versions, many readers feel that they have discovered an English rendering that captures the lyric intensity, fluency, and reach of Rilke’s poetry more accurately and convincingly than has ever been done before.Mr. Mitchell is impeccable in his adherence to Rilke’s text, to his formal music, and to the complexity of his thoughts; at the same time, his work has authority and power as poetry in its own right. Few translators of any poet have arrived at the delicate balance of fidelity and originality that Mr. Mitchell has brought off with seeming effortlessness.Originally published: New York : Random House, 1982.

    Orfi, a wildly successful young singer, lives there, and it’s there that one night he sees his gorgeous girlfriend Eura disappear, “like a spirit,” through a little door in the high wall that surrounds a mysterious mansion across the way. Where has Eura gone? Orfi will have to venture with his guitar across the borders of life and death to find out.Featuring the Ashen Princess, the Line Inspector, trainloads of Devils, Trudy, Valentina, and the Talking Jacket, Poem Strip—a pathbreaking graphic novel from the 1960s—is a dark and alluring investigation into mysteries of love, lust, sex, and death by Dino Buzzati, a master of the Italian avant-garde.

    Her mother was a figure, a name, Irène Némirovsky, a once popular novelist, a Russian émigré from an immensely rich family, a Jew who didn’t consider herself one and who even contributed to collaborationist periodicals, and a woman who died in Auschwitz because she was a Jew. To her daughter she was a tragic enigma and a stranger. It was to come to terms with that stranger that Gille wrote, in The Mirador, her mother’s memoirs. The first part of the book, dated 1929, the year David Golder made Némirovsky famous, takes us back to her difficult childhood in Kiev and St. Petersburg. Her father is doting, her mother a beautiful monster, while Irene herself is bookish and self-absorbed. There are pogroms and riots, parties and excursions, then revolution, from which the family flees to France, a country of “moderation, freedom, and generosity,” where at last she is happy. Some thirteen years later Irène picks up her pen again. Everything has changed. Abandoned by friends and colleagues, she lives in the countryside and waits for the knock on the door. Written a decade before the publication of Suite Française made Irène Némirovsky famous once more (something Gille did not live to see), The Mirador is a haunted and a haunting book, an unflinching reckoning with the tragic past, and a triumph not only of the imagination but of love.

    A novel mingling mysticism, madness, sadistic cruelty and nascent sexuality, it gives a scathing insight into the effects of forced vocations and the unnatural life of the convent. A succès de scandale at the end of the eighteenth century, it has attracted and unsettled readers ever since. For Diderot's novel is not simply a story of a young girl with a bad habit; it is also a powerfully emblematic fable about oppression and intolerance.This new translation includes Diderot's all-important prefatory material, which he placed, disconcertingly, at the end of the novel, and which turns what otherwise seems like an exercise in realism into what is now regarded as a masterpiece of proto-modernist fiction.

    Since then her work has been translated throughout the world. Edna O'Brien has called Tolstaya "an enchantress." Anita Desai has spoken of her work's "richness and ardent life." Mixing heartbreak and humor, dizzying flights of fantasy and plunging descents to earth, Tolstaya is the natural successor in a great Russian literary lineage that includes Gogol, Yuri Olesha, Bulgakov, and Nabokov.White Walls is the most comprehensive collection of Tolstaya's short fiction to be published in English so far. It presents the contents of her two previous collections, On the Golden Porch and Sleepwalker in a Fog, along with several previously uncollected stories. Tolstaya writes of lonely children and lost love, of philosophers of the absurd and poets working as janitors, of angels and halfwits. She shows how the extraordinary will suddenly erupt in the midst of ordinary life, as she explores the human condition with a matchless combination of unbound imagination and unapologetic sympathy. A New York Review Books Original "Tolstaya carves indelible people who roam the imagination long after the book is put down." --Time

    The stories are told in a country villa outside the city of Florence by ten young noble men and women who are seeking to escape the ravages of the plague. Boccaccio's skill as a dramatist is masterfully displayed in these vivid portraits of people from all stations in life, with plots that revel in a bewildering variety of human reactions.Translated with an Introduction and Notes by G. H. McWilliam

    Saxberger has written nothing for thirty years, yet he now realises that he is more than merely an Unremarkable Civil Servant, after all: a Venerable Poet, for whom Late Fame is inevitable – if, that is, his new acolytes are to be believed…Arthur Schnitzler was one of the most admired, provocative European writers of the twentieth century. The Nazis attempted to burn all of his work, but his archive was miraculously saved, and with it, Late Fame. Never published before, it is a treasure, a perfect satire of literary self-regard and charlatanism.Arthur Schnitzler (b. 1862 in Vienna) was one of the most influential European writers of the twentieth century, perhaps best known here for his novellas Dream Story and Fräulein Else. He qualified as a doctor but was increasingly driven to a career in writing, resulting in several celebrated plays, novellas and novels which explore the great existential subjects of the modern age: relationships, love, sex, ageing and death. Because his work dealt with subjects considered taboo, he frequently attracted the hostility of the authorities, consequently losing his position as Chief Medic in the Reserve Army and being tried for disorderly conduct. Schnitzler was close friends with Stefan Zweig and Sigmund Freud, who both admired him greatly, and a member of the 'Young Vienna' circle of writers who regularly met at a café nicknamed 'Café Megalomania' - the very same clique and café he satirises so deliciously in Late Fame. Schnitzler died in 1931.Pushkin Press also publishes his novellas Fräulein Else, Dying and Casanova's Return to Venice.

    Offered here are tales of battle, travel, and adventure, but also songs of heartache and longing, pearls of lusty innuendo and clear-eyed stoicism, charms and spells for everyday use, and seven "hoards" of delightfully puzzling riddles.Featuring all-new translations by seventy-four of our most celebrated poets—including Seamus Heaney, Robert Pinsky, Billy Collins, Eavan Boland, Paul Muldoon, Robert Hass, Gary Soto, Jane Hirshfield, David Ferry, Molly Peacock, Yusef Komunyakaa, Richard Wilbur, and many others—The Word Exchange is a landmark work of translation, as fascinating and multivocal as the original literature it translates.

    But until the mid-1930s--eighty years after it first appeared in English--it remained unavailable in French. The Provencal novelist Jean Giono fell in love with the book. He inspired his friend Lucien Jacques to join him in the project of rendering Melville’s stirring prose. After they finished, their publisher persuaded Giono to write a preface. Giono was unwilling at first to accept--the translation had taken a few years to complete, and he was eager to move on. But he was brought around by the desire to introduce Melville to the French public.The result, issued as a separate volume in French, is an unparalleled intercultural creation, part preface, part biography, part philosophical rumination, part romance, part unfettered fantasy. The French publisher continues to classify it as “un essai,” a literary experiment. Melville: A Novel is an intimate homage from one great writer to another, across time and space, a true meeting of French and American minds. Paul Eprile’s meticulous translation of this startling text brings the exchange full circle.

    Written by a lady of the court at the height of Heian culture, this book enthralls with its lively gossip, witty observations, and subtle impressions. Lady Shonagon was an erstwhile rival of Lady Murasaki, whose novel, "The Tale of Genji," fictionalized the elite world Lady Shonagon so eloquently relates. Featuring reflections on royal and religious ceremonies, nature, conversation, poetry, and many other subjects, "The Pillow Book" is an intimate look at the experiences and outlook of the Heian upper class, further enriched by Ivan Morris's extensive notes and critical contextualization.