Primo Levi's account of life as a concentration camp prisoner falls into two parts. IF THIS IS A MAN describes his deportation to Poland and the twenty months he spend working in Auschwitz. THE TRUCE covers his long journey to Italy at the end of the war through Russia and Central Europe. Levi never raises his voice, complains or attributes blame. By telling his story quietly, objectively and in plain language he renders both the horror and the hope of the situation with absolute clarity. Probing the themes which preoccupy all his writing - work love, power, the nature of things, what it is to be human - he leaves the reader drained, elated, apprehensive.
There are novels, like journeys, which you never want to end: this is one of them. One seventh of July at six in the afternoon, a woman of 71 and a man of 78 ascend a gangplank and begin one of the greatest adventures in modern literature. The man is Florentino Ariza, President of the Carribean River Boat Company; the woman is his childhood sweetheart, the recently widowed Fermina Daza. She has earache. He is bald and lame. Their journey up-river, at an age when they can expect 'nothing more in life', holds out a shimmering promise: the consummation of an amor interruptus spanning half a century. LOVE IN THE TIME OF CHOLERA is one of the most uplifting romances of our times. An epiphany to late-flowering love, it holds out the subversive promise that you can have what you wish for: you may just have to wait. Set on the Colombian coast in the early part of this century, it is, arguably even more so than ONE HUNDRED YEARS OF SOLITUDE which won him the Nobel Prize, the crowning work of Gabriel Garcia Marquez. 'My best, ' he says of it. 'The novel that was written from my gut. ' Publication is timed to tie in with the launch of Marquez' new novel, NEWS OF A KIDNAPPING, by Jonathan Cape on 3 July.
A biting satire on dictatorship written during the Second World War and published in 1945, ANIMAL FARM is perhaps the most celebrated twentieth-century English satire after the same writer's NINETEEN EIGHTY-FOUR. One of the very few writers to be compared in power, artistry and moral authority with Jonathan Swift, the purity of Orwell's spare prose and the logic of his dark comedy emphasize the stark message of man's inhumanity to man and beast's to beast
Nineteen Eighty-Four tells the story of Winston Smith, an ordinary man struggling against the overwhelming power of a totalitarian state. Although he enjoys brief moments of love and freedom, Smith is doomed to fail in his battle with the torturer O’Brien, whose objective is not to destroy him but to make him conform. In the very last words of the novel, Orwell tells us that Smith ‘had won the battle over himself. He loved Big Brother’. In this study of political corruption, Orwell explores themes of memory, history, truth, identity and language which touch on the deepest philosophical concerns of mankind. But the phrases which define his fable – Big Brother, Newspeak, Room 101, Thought Police – have also become common currency. It is Orwell’s ability to combine the popular touch with serious thought expressed in English of exceptional purity which ensures that Nineteen Eighty-Four will continue to be regarded as one of the twentieth century’s abiding masterpieces.
That Machiavelli’s name has become synonymous with cold-eyed political calculation only heightens the intrinsic fascination of The Prince – the world’s pre-eminent how-to manual on the art of getting and keeping power, and one of the literary landmarks of the Italian Renaissance. Written in a vigorous, straightforward style which reflects its author’s realism, this treatise on states, statecraft, and the ideal ruler is essential reading for anyone seeking to understand how human society actually works.
Marcus Aurelius Antoninus (a.d. 121 180) succeeded his adoptive father as emperor of Rome in a.d. 161 and Meditations remains one of the greatest works of spiritual and ethical reflection ever written. With a profound understanding of human behavior, Marcus provides insights, wisdom, and practical guidance on everything from living in the world to coping with adversity to interacting with others. Consequently, the Meditations have become required reading for statesmen and philosophers alike, while generations of ordinary readers have responded to the straightforward intimacy of his style.
The doppelgänger, the ghostly double infecting the soul, was a popular fictional subject for late nineteenth-century writers, and it found its most brilliant realization in Robert Louis Stevenson’s story of Dr Jekyll, whose reckless genius allows him to bring his own appalling double to life. The finest horror story in our language, Dr Jekyll and Mr Hyde is also a metaphysical fairy tale of stunning perspicacity. Also included in this collection are Markheim, A Lodging for the Night, Thrawn Janet, The Body-Snatcher and The Misadventures of John Nicholson.
Published in 1916 when Joyce was already at work on Ulysses, A Portrait of the Artist as a Young Man is exactly what its title says and much more. In part a vivid picture of Joyce’s own youthful evolution into one of the twentieth century’s greatest writers, it is also a moment in the intellectual history of an age.
Set in British India in the 1920s, this book looks at racial conflict. The characters struggle to overcome their own differences and prejudices, but when the Indian Dr Aziz is tried for the alleged assault of Adela Quested even the strongest inter-racial friendships come under pressure.
During its three-thousand-year history Rome has been an imperial metropolis, the capital of a nation and the spiritual core of a great world religion. For writers from antiquity to the present, however, the place holds an alternative significance as a realm of fantasy, aspiration and desire. Captivating and lethal at one and the same moment, its fatal gift of beauty both transfigures and betrays those in thrall to it. Rome Stories explores the city's fateful impact through the writing of classical historians, a Renaissance sculptor, 18th-century tourists, American, British and French novelists and the authors of modern Rome, each testing and unravelling the city's ageless paradoxes. Gibbon admires the Last of the Tribunes, Goethe decodes the mysteries of the Carnival and Stendhal's subversive aristocrats mingle revolution with a little cross-dressing amid their gilt mirrors and frescoed ceilings From Plutarch to Pasolini, from Hawthorne to Wharton, the city of Caesars and popes, of dreamers, chancers and hustlers confronts the questing imagination with its eternally unflinching gaze.
In the eighteenth century, Laurence Sterne explores the temptations of the French capital in a teasing study of foreign mores and Restif de la Bretonne provides an eye-witness account of the Revolution. From the 1800s, Hugo, Balzac, Flaubert, and Zola offer fascinating portraits of the city's teeming humanity; the Goncourt brothers chronicle the explosion of artistic talent; Huysmans describes an evening at the Folies Berg?re. Colette chronicles the pitfalls for a young girl in the decadent city of the early twentieth century; F. Scott Fitzgerald revels in the city's glamour; Jean Rhys's lost heroines wander from café to café; James Baldwin celebrates its sexual freedoms; and Raymond Queneau gleefully reinvents the language of the street. In our time, Michel Tournier's North African immigrant walks a camel along the boulevards, while Nobel Laureate Patrick Modiano brilliantly maps the city's many arrondissements. The alluring power of Paris has never dimmed and it is richly captured in all its facets in these compelling and seductive tales.
Hana, a Canadian nurse, exhausted by death, and grieving for her own dead father; the maimed thief-turned-Allied-agent, Caravaggio; Kip, the emotionally detached Indian sapper - each is haunted in different ways by the man they know only as the English patient, a nameless burn victim who lies in an upstairs room. His extraordinary knowledge and morphine-induced memories - of the North African desert, of explorers and tribes, of history and cartography; and also of forbidden love, suffering and betrayal - illuminate the story, and leave all the characters for ever changed.
Playful kittens and ruthless predators, beloved pets and witches' familiars - cats of all kinds come alive in these stories. Maeve Brennan and Alice Adams movingly explore what cats can mean to their humans, while writers as varied as Patricia Highsmith and Fritz Leiber imagine the intriguingly alien feline point of view. Cats flaunt their undeniable superiority in Angela Carter's bawdy retelling of 'Puss-in-Boots' and Stephen Vincent Benét's uncanny 'The King of the Cats', while humour abounds in tales by comic masters P. G. Wodehouse and Saki. The essential unknowableness of cats inspires the most exotic flights of fancy: Calvino's secret city of cats in 'The Garden of Stubborn Cats', the disappearing animal in Ursula K. LeGuin's brain-teasing 'Schrödinger's Cat', the cartoon rodent and his cartoon nemesis in Steven Millhauser's 'Cat 'n' Mouse'. In these and other stories, this delightful anthology offers cat lovers a many-faceted tribute to the beguilingly mysterious objects of their affection.
The Republic of Gilead offers Offred only one function: to breed . If she deviates, she will, like dissenters, be hanged at the wall or sent out to die slowly of radiation sickness. But even a repressive state cannot obliterate desire - neither Offred's nor that of the two men on which her future hangs. . . . .
One of Hemingway's finest novels, A FAREWELL TO ARMS was published in 1929 when the author was at the height of his power, It draws on his own experiences serving with the Italins in World War One when he was severely wounded in action and awarded the Croce de Guerra. This is a vivid portrait of men at war which also explores their deeper responses to the cruetly and heroism of Battle
Poet and pervert, Humbert Humbert becomes obsessed by twelve-year-old Lolita and seeks to possess her, first carnally and then artistically, out of love, 'to fix once for all the perilous magic of nymphets'. Is he in love or insane? A silver-tongued poet or a pervert? A tortured soul or a monster? Or is he all of these? Humbert Humbert's seduction is one of many dimensions in Nabokov's dizzying masterpiece, which is suffused with a savage humour and rich, elaborate verbal textures.
T. S. Eliot called The Moonstone ‘the first, the longest and the best of detective novels’. Combining a teasing plot with a vivid portrait of Victorian England, Collins makes his characters reveal themselves – and the solution to the mystery – by telling their own stories.
"My favorite novel -it's just the greatest explosion of imagination, craziness, satire, humor, and heart." Daniel Radcliffe.
The devil with his retinue, a poet incarcerated in a mental institution for speaking the truth, and a startling re-creation of the story of Pontius Pilate, constitute the elements out of which Mikhail Bulgakov wove The Master and Margarita, the unofficial masterpiece of twentieth-century Soviet fiction. Long suppressed in its native land, this account of strange doings in Moscow in the 1930s provides us with the essence of the sceptical, trenchant, unadulterated voice of dissent
Scott Fitzgerald was called the laureate of the Jazz Age. The Great Gatsby (1926) is a cynical celebration of the post-Great War Long Island/ New York world of get-rich-quick. The narrator, Nick Carraway, sympathetically records the pathos of Gatsby’s romantic dream which founders on the reality of corruption, the insulated selfishness of Tom and Daisy, and the cutting edge of violence. ‘His style sings of hope, his message is despair’, wrote Cyril Connolly. It is terse, spare, lucid, imperishable, a novel of compassion, wry wisdom and narrative verve.
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