Alternately voyeur and seer, he obsessively studies the private moments and secret activities of his neighbors: childbirth, first love, marriage, betrayal, illness and death all present themselves to him through this spy hole. Decades ahead of its time, "Hell" shocked and scandalized the reviewing public when first released in English in 1966. Even so, the New Republic praised "the beauty of the book's nervous yet fluid rhythms... The book sweeps away life's illusions."

    From the eerie incantations of “The Raven” to the persistent fright of “The Tell-Tale Heart,” his stories and poems are unforgettable explorations of the darker side of life that still offer lessons and insight into human behavior today, making them an integral component of just about any library.   This Canterbury Classics edition of Edgar Allan Poe collects some of his best-known work--from “Annabel Lee” to “The Fall of the House of Usher,” “Lenore” to “The Pit and the Pendulum,” and many, many more. With an impressive leather cover, specially designed endpapers, and other all-new enhancements, as well as an essay by a Poe scholar, Edgar Allan Poe is the perfect introduction for new readers and the perfect resource for devoted fans.   Poe's writings were truly original--and this unique book is the perfect look at his uncommon genius.

    Set in the mid-19th century on New York City's Wall Street, it was also, perhaps, Herman Melville's most prescient story: what if a young man caught up in the rat race of commerce finally just said, "I would prefer not to"?The tale is one of the final works of fiction published by Melville before, slipping into despair over the continuing critical dismissal of his work after Moby-Dick, he abandoned publishing fiction. The work is presented here exactly as it was originally published in Putnam's magazine—to, sadly, critical disdain.

    The woman is no one in particular, a "she," a warm, moist body with a beating heart-the enigma of Other. Skilled in the mechanics of sex, he desires through her to penetrate a different mystery: he wants to learn love. It isn't a matter of will, she tells him. Still, he wants to learn to try . . .This beautifully wrought erotic novel is an extended haiku on the meaning of love, "perhaps a sudden lapse in the logic of the universe," and of its absence, "the malady of death." "The whole tragedy of the inability to love is in this work, thanks to Duras' unparalleled art of reinventing the most familiar words, of weighing their meaning." - Le Monde; "Deceptively simple and Racinian in its purity, condensed to the essential." - Translation Review.

    It is also the most decadent of the great Russian classics, replete with naked boys, sinuous girls, and a strange mixture of beauty and perversity. The main hero, Peredonov, is as comical as he is disgusting, he is at once a victim, a monster, a silly hypocrite, and a sadistic dullard. The plot moves from Peredonov’s petty quest for a promotion to arson and murder via one of the most incredible and uproarious scandal scenes in world literature, the masquerade ball, which the boy Sasha attends as a beautiful geisha. Even in its censored form, it is one of the most provocative and sexually open of Russian books. Sologub removed many passages which would have been unacceptable at the time of publication. In this edition these censored sections are appended, and all are keyed so that the reader can place them in the novel as it was written.

    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).

    Contains over 20 stories written by various Russian authors, including, "The Gentleman from San Francisco" by 1933 Nobel Prize winner Bunin, and stories by Pushkin, Gogol, Turgenev, Dostoyevsky, Tolstoy, Saltykov, Korolenko, Garshin, Chekhov, Sologub, Potapenko, Semyonov, Gorky, Artzybashev, Kuprin, Andreyev, and others.

    In his preface, Andre Maurois writes: "Borges is a great writer who has composed only little essays or short narratives. Yet they suffice for us to call him great because of their wonderful intelligence, their wealth of invention, and their tight, almost mathematical style."Labyrinths is a representative selection of Borges' writing, some forty pieces drawn from various books of his published over the years. The translations are by Harriet de Onis, Anthony Kerrigan, and others, including the editors, who have provided a biographical and critical introduction, as well as an extensive bibliography.

    Shalamov himself spent seventeen years there, and in these stories he vividly captures the lives of ordinary people caught up in terrible circumstances, whose hopes and plans extended to further than a few hours. This new enlarged edition combines two collections previously published in the United States as Kolyma Tales and Graphite.

    A novel that chronicles the lives of two women who could not be more different: Becky Sharp, an orphan whose only resources are her vast ambitions, her native wit, and her loose morals; and her schoolmate Amelia Sedley, a typically naive Victorian heroine, the pampered daughter of a wealthy family.

    Taut, brooding, and densely atmospheric, these stories show us the ways in which murder can arise out of boredom, perversity can result from adolescent curiosity, and sheer evil might be the solution to unbearable loneliness. These tales are as horrifying as anything written by Clive Barker or Stephen King, but they are crafted with a lyricism and intensity that compel us to confront our secret kinship with the horrifying.

    First published in 1759, it was an instant bestseller and has come to be regarded as one of the key texts of the Enlightenment. What Candide does for chivalric romance, the other tales in this selection--Micromegas, Zadig, The Ingenu, and The White Bull--do for science fiction, the Oriental tale, the sentimental novel, and the Old Testament. The most extensive one-volume selection currently available, this new edition includes a new verse translation of the story Voltaire based on Chaucer's The Wife of Bath's Tale: What Pleases the Ladies and opens with a revised introduction that reflects recent critical debates, including a new section on Candide.

      While attending a traditional tea ceremony in the aftermath of his parents’ deaths, Kikuji encounters his father’s former mistress, Mrs. Ota. At first Kikuji is appalled by her indelicate nature, but it is not long before he succumbs to passion—a passion with tragic and unforeseen consequences, not just for the two lovers, but also for Mrs. Ota’s daughter, to whom Kikuji’s attachments soon extend. Death, jealousy, and attraction convene around the delicate art of the tea ceremony, where every gesture is imbued with profound meaning.

    Some of the stories here were collected by folklorists during the last two centuries, while the others are reworkings of oral tales by four of the greatest writers in Russian literature: Nadezhda Teffi, Pavel Bazhov, Andrey Platonov, and Alexander Pushkin, author of Eugene Onegin, the classic Russian novel in verse. Among the many classic stories included here are the tales of Baba Yaga, Vasilisa the Beautiful, Father Frost, and the Frog Princess.

    The king's house had many other doors, but this was the door for petitions. Since the king spent all his time sitting at the door for favors (favors being offered to the king, you understand), whenever he heard someone knocking at the door for petitions, he would pretend not to hear . . ." Why the petitioner required a boat, where he was bound for, and who volunteered to crew for him, the reader will discover in this delightful fable, a philosophic love story worthy of Swift or Voltaire.