His young life is disrupted by two arrivals.The first is his aunt Julia, recently divorced and thirteen years older, with whom he begins a secret affair. The second is a manic radio scriptwriter named Pedro Camacho, whose racy, vituperative soap operas are holding the city's listeners in thrall. Pedro chooses young Marito to be his confidant as he slowly goes insane.Interweaving the story of Marito's life with the ever-more-fevered tales of Pedro Camacho, Vargas Llosa's novel is masterfully done, hilarious, mischievous, a classic named one of the best books of the year by the New York Times Book Review.

    instead, she finds her plans wrecked by her best friend's deaf-mute son, thrust into her reluctant care. But when a shared lottery ticket nets the two of them over 40 million kroner, she and the boy head off on a road trip across iceland, taking in cucumber-farming hotels, dead sheep, and any number of her exes desperate for another chance. Blackly comic and uniquely moving, Butterflies in November is an extraordinary, hilarious tale of motherhood, relationships and the legacy of life's mistakes.

    Not all of them return – and those who do will never be the same. Among them is the daredevil Laurids Madsen, who promptly escapes again into the anonymity of the high seas.As soon as he is old enough, his son Albert sets off in search of his missing father on a voyage that will take him to the furthest reaches of the globe and into the clutches of the most nefarious company. Bearing a mysterious shrunken head, and plagued by premonitions of bloodshed, he returns to a town increasingly run by women – among them a widow intent on liberating all men from the tyranny of the sea.From the barren rocks of Newfoundland to the lush plantations of Samoa, from the roughest bars in Tasmania, to the frozen coasts of northern Russia, We, The Drowned spans four generations, two world wars and a hundred years. Carsten Jensen conjures a wise, humorous, thrilling story of fathers and sons, of the women they love and leave behind, and of the sea’s murderous promise. This is a novel destined to take its place among the greatest seafaring literature.

    Assuming her isolation to be the result of a military experiment gone awry, she begins the terrifying work of survival and self-renewal. This novel is at once a simple and moving tale and a disturbing meditation on humanity.

    Family Happiness (Russian: Семейное счастье [Semeynoye Schast'ye]) is an 1859 novella written by Leo Tolstoy, first published in The Russian Messenger.

    But he's focused on his duties as chief of the Maori in Whangara, New Zealand—a tribe that claims descent from the legendary "whale rider." In every generation since the whale rider, a male has inherited the title of chief. But now there is no male heir—there's only Kahu. She should be next in line for the title, but her great-grandfather is blinded by tradition and sees no use for a girl. Kahu will not be ignored. And in her struggle she has a unique ally: the whale rider himself, from whom she has inherited the ability to communicate with whales. Once that sacred gift is revealed, Kahu may be able to reestablish her people's ancestral connections, earn her great-grandfather's attention—and lead her tribe to a bold new future.

    The Norwegian folktales, said Jacob Grimm, "surpass nearly all others."Within these captivating tales we meet witches, trolls, and ogres; sly foxes and great, mysterious bears; beautiful princesses and country-lads-turned-heroes. Collected here in a sparkling contemporary translation by Pat Shaw Iversen and Carl Norman, these tales brim with the matchless vitality and power of their original telling. Included also are the wonderfully evocative original illustrations of Erik Werenskiold and Theodor Kittelsen.

    And to Burt, his parents and teachers seem to be speaking a language he cannot understand. This is Burt's story as written in pencil on the walls of Quiet Room in the Children's Trust Residence Center, where he lands after expressing his ardent feelings for a classmate. It begins: When I was five I killed myself....In this rediscovered modern classic from "one of France's best-loved temporary writers" (Time), Howard Buten renders with astounding insight and wry language the tale of a troubled -- or perhaps just perfectly normal -- young boy testing the boundaries of love and life.

    Instead she celebrates her Found Day, the day a housemaid and a cook to three eccentric Viennese professors found her and took her home. There, Annika has made a happy life in the servants' quarters, surrounded with friends, including the elderly woman next door who regales Annika with stories of her performing days and her countless admirers - especially the Russian count who gave her the legendary emerald, the Star of Kazan. And yet, Annika still dreams of finding her true mother. But when a glamorous stranger arrives claiming to be Annika's mother, and whisks her away to a crumbling, spooky castle, Annika discovers that all is not as it seems in her newfound home...

    And if the moment does pass, it never goes that far. It stands in the distance, ready for whenever you want it back. Sometimes it's even there when you thought you were searching for something else, like an escape route, or your lover's face.How does one talk about love? Do we even have the right words to describe something that can be both utterly mundane and completely transcendent, pulling us out of our everyday lives and making us feel a part of something greater than ourselves? Taking a unique approach to this problem, the nameless narrator of David Levithan's The Lover's Dictionary has constructed the story of his relationship as a dictionary. Through these short entries, he provides an intimate window into the great events and quotidian trifles of being within a couple, giving us an indelible and deeply moving portrait of love in our time.

    Adolf Hitler wakes up from a 66-year sleep in his subterranean Berlin bunker to find the Germany he knew entirely changed: Internet-driven media spreads ideas in minutes and fumes celebrity obsession; immigration has produced multicultural neighborhoods bringing together people of varying race, ethnicity, and religion; and the most powerful person in government is a woman. Hitler is immediately recognized . . . as an impersonator of uncommon skill. The public assumes the fulminating leader of the Nazi party is a performer who is always in character, and soon his inevitable viral appeal begets YouTube stardom, begets television celebrity on a Turkish-born comedian's show. His bigoted rants are mistaken for a theatrical satire--exposing prejudice and misrepresentation--and his media success emboldens Hitler to start his own political party and set the country he finds a shambles back to rights. With daring and dark humor, Look Who's Back skewers the absurdity and depravity of the cult of personality in modern media culture.

    The surroundings are glamorous, wine flows freely, and the exhilarated young Hofmiller asks his host's lovely daughter for a dance, only to discover that sickness has left her painfully crippled. It is a minor blunder, yet one that will go on to destroy his life, as pity and guilt gradually implicate him in a well-meaning but tragically wrongheaded plot to restore the unhappy invalid to health."Stefan Zweig was a dark and unorthodox artist; it's good to have him back." —Salman Rushdie

    Based on Norwegian folklore and Ibsen’s own imaginative inventions, the play relates the roguish life of the world-wandering Peer, who finds wealth and fame — but never happiness — although he is redeemed by love in the end. As the play opens the young farmer attends a wedding and meets Solveig, the woman who is eventually to be his salvation. However, the rascally Peer then kidnaps the bride and later abandons her in the wilderness. This dismal performance is followed by a string of adventures (many of which do not reflect well on Peer) in many lands. After these soul-chilling exploits, an old and embittered Peer returns to Norway, eventually finding solace in the arms of the faithful Solveig. Like other early Ibsen plays, such as Brand (1865) and Emperor and Galilean (1873), the work is imbued with poetic mysticism and romanticism, and in Peer we find a rebellious central character in search of an ultimate truth that always seems just out of reach. In this sense Peer can be seen as an alter ego of Ibsen himself, whose lifelong search for artistic and moral certainties resulted in the great later plays (Hedda Gabler, The Wild Duck, An Enemy of the People, etc.) upon which his reputation chiefly rests. This rich, poetic version of Peer Gynt is considered the standard translation.

    What follows is a quest to find the killer, encompassing by turns a picaresque and endlessly inventive look at the conditions that have brought Wergeland to this critical juncture in life. From his hair's breadth escape from a ravenous polar bear while filming in Greenland to a near-death experience aboard a passenger ferry in the icy Baltic, the Tom Jones-like experiences that comprise the narrative of Wergeland's life, relayed in Kjaerstad's veneered and acutely observant prose, provide a fascinating portrait of a media icon at the crux of his journey as an artist.

    He is turned away but not before learning that one of the most adept of the old priestesses, or sibyls, lives in disgrace in the mountains above the temple. In her rude goat-hut he seeks the meaning of his disastrous brush with the son of God. She reveals that she, too, has been touched by the son of a god, a very different son, not quite human, born of her own body. He dwells with her as a constant reminder of the betrayal of her mystical and erotic union with the divine, her punishment, and perhaps her redemption.