Emma Donoghue, the “soul-stirring” (Oprah Daily) nationally bestselling author of Room, returns with a sweeping historical novel about an infamous 1895 disaster at the Paris Montparnasse train station.

Europe is racing towards the future. Steam travel is the emblem of progress; industry and invention are creating ever greater wealth and ever greater deprivation; and on an autumn day in 1895 a young woman determined to make her mark on history boards the Granville to Paris Express with a bomb. With her travel the train crew and her fellow passengers: the men who run the engine, who have built a life together away from their wives; a little boy travelling alone for the first time; a wealthy statesman and his ill daughter; an artist far from home and in search of a muse; and another young woman with a secret of a very different nature hidden beneath the layers of her dress.

The Paris Express is a propulsive novel set on a train packed with a fascinating cast of characters who hail from as close as Brittany and as far as Russia, Ireland, Algeria, Pennsylvania, and Cambodia. Members of parliament hurry back to Paris to vote; a medical student suspects a girl may be dying; a secretary tries to convince her boss of the potential of moving pictures; two of the train’s crew build a life away from their wives; a young anarchist makes a terrifying plan, and much more.

The Paris Express is an evocative masterpiece that effortlessly captures the politics, glamour, chaos, and speed that marked the end of the 19th century.

The Book of Laughter and Forgetting is described as a dazzling entertainment that is arousing on every level—political, erotic, intellectual, and above all, humorous. It calls itself a novel, although it is part fairy tale, part literary criticism, part political tract, part musicology, and part autobiography. It can call itself whatever it wants to, because the whole is genius.

Rich in its stories, characters, and imaginative range, this novel brought Milan Kundera his first big international success in the late 1970s. Like all his work, it is valuable for far more than just its historical implications. In seven wonderfully integrated parts, different aspects of human existence are magnified and reduced, reordered and emphasized, newly examined, analyzed, and experienced.

Auto da Barca do Inferno é uma alegoria dramática onde duas barcas estão à espera das almas: a do Inferno, conduzida pelo Diabo, e a da Glória, guiada pelo Anjo. Neste cenário, ocorre o julgamento das almas, a maioria das quais se destina à primeira barca.

Os personagens, que incluem um agiota, um sapateiro rico, um tolo, uma alcoviteira, um usurário, quatro cavaleiros e um frade corrupto, são representações dos vícios humanos. Mais do que uma sátira da sociedade lisboeta do início do século 16, esta obra é uma crítica mordaz e humorística aos vícios que corroem o mundo e à organização social dos homens.

Gil Vicente, considerado o primeiro dramaturgo da língua portuguesa, oferece uma peça que transcende o tempo com sua crítica social e reflexão sobre moralidade e religião. A linguagem rica e poética de Vicente cativa e provoca o pensamento, tornando a leitura uma experiência enriquecedora.

Ideal para estudantes, professores e amantes da literatura, esta obra-prima continua a ser relevante nos dias de hoje, inspirando e provocando discussões significativas sobre a vida e a morte.

Gone to Soldiers is a sweeping New York Times bestseller that captures the most captivating and engrossing stories from World War II. This epic novel by Marge Piercy encompasses a wide range of people and places marked by the Second World War. Each of her ten narrators has a unique and compelling story that powerfully depicts their personality, desires, and fears.

Special attention is given to the women of the war effort, like Bernice, who rebels against her domineering father to become a fighter pilot, and Naomi, a Parisian Jew sent to live with relatives in Detroit, whose twin sister, Jacqueline—still in France—joins the resistance against Nazi rule.

The horrors of the concentration camps; the heroism of soldiers on the beaches of Okinawa, the skies above London, and the seas of the Mediterranean; the brilliance of code breakers; and the resilience of families waiting for the return of sons, brothers, and fathers are all conveyed through powerful, poignant prose that resonates beyond the page.

Gone to Soldiers is a testament to the ordinary people, with their flaws and inner strife, who rose to defend liberty during the most extraordinary times.

Few readers need any introduction to the work of the most influential poet of the twentieth century. In addition to the title poem, this selection includes "The Love Song of J. Alfred Prufrock", "Gerontion", "Ash Wednesday", and other poems from Mr. Eliot's early and middle work.

"In ten years' time," wrote Edmund Wilson in Axel0s Castle (1931), "Eliot has left upon English poetry a mark more unmistakable than that of any other poet writing in English." In 1948 Mr. Eliot was awarded the Nobel Prize for his work as trail-blazing pioneer of modern poetry.

The Collected Stories of Amy Hempel gathers together the complete work of a writer whose voice is as singular and astonishing as any in American fiction. Hempel, fiercely admired by writers and reviewers, has a sterling reputation that is based on four very short collections of stories, roughly fifteen thousand stunning sentences, written over a period of nearly three decades.

These are stories about people who make choices that seem inevitable, whose longings and misgivings evoke eternal human experience. With compassion, wit, and the acutest eye, Hempel observes the marriages, minor disasters, and moments of revelation in an uneasy America.

When "Reasons to Live," Hempel's first collection, was published in 1985, readers encountered a pitch-perfect voice in fiction and an unsettling assessment of the culture. That collection includes "San Francisco," which Alan Cheuse in The Chicago Tribune called "arguably the finest short story composed by any living writer."

In "At the Gates of the Animal Kingdom," her second collection, frequently compared to the work of Raymond Carver, Hempel refined and developed her unique grace and style and her unerring instinct for the moment that defines a character.

Also included here, in their entirety, are the collections "Tumble Home" and "The Dog of the Marriage."

The Collected Stories of Amy Hempel is the perfect opportunity for readers of contemporary American fiction to catch up to one of its masters.

Now that all the others have run out of air, it’s my turn to do a little story-making.

In Homer’s account in The Odyssey, Penelope—wife of Odysseus and cousin of the beautiful Helen of Troy—is portrayed as the quintessential faithful wife, her story a salutary lesson through the ages. Left alone for twenty years when Odysseus goes off to fight in the Trojan War after the abduction of Helen, Penelope manages, in the face of scandalous rumors, to maintain the kingdom of Ithaca, bring up her wayward son, and keep over a hundred suitors at bay, simultaneously. When Odysseus finally comes home after enduring hardships, overcoming monsters, and sleeping with goddesses, he kills her suitors and—curiously—twelve of her maids.

In a splendid contemporary twist to the ancient story, Margaret Atwood has chosen to give the telling of it to Penelope and to her twelve hanged maids, asking: “What led to the hanging of the maids, and what was Penelope really up to?”

In Atwood’s dazzling, playful retelling, the story becomes as wise and compassionate as it is haunting, and as wildly entertaining as it is disturbing. With wit and verve, drawing on the story-telling and poetic talent for which she herself is renowned, she gives Penelope new life and reality—and sets out to provide an answer to an ancient mystery.

Dom Casmurro is a classic story of love and jealousy. It tells the story of Bento and his childhood love, Capitu, who overcome their parents' reluctance to marry. However, Bento jealously suspects that their son is not his.

But beyond this straightforward plot, Machado de Assis plays with the reader's expectations and comments on the structure of the story, blurring the line between fiction and reality. This approach makes Dom Casmurro appear very modern and unique among its contemporaries.

Terra Nostra is one of the great masterpieces of modern Latin American fiction. This ambitious novel by Carlos Fuentes covers 20 centuries of European and American culture and prominently features the construction of El Escorial by Philip II.

The title, Latin for "Our Earth," is modeled on James Joyce's Finnegans Wake, and shifts unpredictably between the sixteenth century and the twentieth. It seeks the roots of contemporary Latin American society in the struggle between the conquistadors and indigenous Americans.

Fuentes skillfully blends a wide range of literary forms, stories within stories, Mexican and Spanish myth, and famous literary characters. This novel is both a historical epic and an apocalyptic vision of modern times.

Terra Nostra is a total work of art—a voyage to the edge of what only a novelist can see and say.

Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels.

A collection of poems composed by Nobel Prize-winning writer T.S. Eliot between 1909 and 1935.

Just before dawn one winter's morning, a hijacked jetliner explodes above the English Channel. Through the falling debris, two figures, Gibreel Farishta, the biggest star in India, and Saladin Chamcha, an expatriate returning from his first visit to Bombay in fifteen years, plummet from the sky, washing up on the snow-covered sands of an English beach, and proceed through a series of metamorphoses, dreams, and revelations.

The story begins with a bang: the terrorist bombing of a London-bound jet in midflight. Two Indian actors of opposing sensibilities fall to earth, transformed into living symbols of what is angelic and evil. This is just the initial act in a magnificent odyssey that seamlessly merges the actual with the imagined.

A book whose importance is eclipsed only by its quality, The Satanic Verses is a key work of our times, embracing life in all its contradictions.

From the Pulitzer Prize-winning and bestselling author of The Shipping News and Accordion Crimes comes a celebrated short-story collection. Annie Proulx's masterful language and fierce love of Wyoming are evident in these tales of loneliness, quick violence, and the wrong kinds of love. Each portrait in Close Range reveals characters fiercely wrought with precision and grace.

These are stories of desperation and unlikely elation, set in a landscape both stark and magnificent.
The stories include:

• The half-skinned steer
• The mud below
• 55 miles to the gas pump
• The bunchgrass edge of the world
• A lonely coast
• Job history
• Pair a spurs
• People in Hell just want a drink of water
• The governors of Wyoming
• The blood bay
• Brokeback Mountain

This collection showcases an author writing at the peak of her craft.

While Eisenstein documented the forces of totalitarianism and Stalinism upon the faces of the Russian peoples, DeLillo offers a stunning, at times overwhelming, document of the twin forces of the Cold War and American culture, compelling that "swerve from evenness" in which he finds events and people both wondrous and horrifying.

Underworld opens with a breathlessly graceful prologue set during the final game of the Giants-Dodgers pennant race in 1951. Written in what DeLillo calls "super-omniscience" the sentences sweep from young Cotter Martin as he jumps the gate to the press box, soars over the radio waves, runs out to the diamond, slides in on a fast ball, pops into the stands where J. Edgar Hoover is sitting with a drunken Jackie Gleason and a splenetic Frank Sinatra, and learns of the Soviet Union's second detonation of a nuclear bomb. It's an absolutely thrilling literary moment. When Bobby Thomson hits Branca's pitch into the outstretched hand of Cotter—the "shot heard around the world"—and Jackie Gleason pukes on Sinatra's shoes, the events of the next few decades are set in motion, all threaded together by the baseball as it passes from hand to hand.

"It's all falling indelibly into the past," writes DeLillo, a past that he carefully recalls and reconstructs with acute grace. Jump from Giants Stadium to the Nevada desert in 1992, where Nick Shay, who now owns the baseball, reunites with the artist Kara Sax. They had been brief and unlikely lovers 40 years before, and it is largely through the events, spinoffs, and coincidental encounters of their pasts that DeLillo filters the Cold War experience. He believes that "global events may alter how we live in the smallest ways," and as the book steps back in time to 1951, over the following 800-odd pages, we see just how those events alter lives. This reverse narrative allows the author to strip away the detritus of history and pop culture until we get to the story's pure elements: the bomb, the baseball, and the Bronx. In an epilogue as breathless and stunning as the prologue, DeLillo fast-forwards to a near future in which ruthless capitalism, the Internet, and a new, hushed faith have replaced the Cold War's blend of dread and euphoria.

Through fragments and interlaced stories—including those of highway killers, artists, celebrities, conspiracists, gangsters, nuns, and sundry others—DeLillo creates a fragile web of connected experience, a communal Zeitgeist that encompasses the messy whole of five decades of American life, wonderfully distilled.

Delmore Schwartz said about The Cantos, "They are one of the touchstones of modern poetry."

William Carlos Williams commented, "[Pound] discloses history by its odor, by the feel of it—in the words; fuses it with the words, present and past, to MAKE his Cantos. Make them."

Since the 1969 revised edition, the Italian Cantos LXXII and LXXIII (as well as a 1966 fragment concluding the work) have been added. Now appearing for the first time is Pound's recently found English translation of Italian Canto LXXII.

The ideal introduction to the genius of Ernest Hemingway, The Snows of Kilimanjaro and Other Stories contains ten of Hemingway's most acclaimed and popular works of short fiction.

Selected from Winner Take Nothing, Men Without Women, and The Fifth Column and the First Forty-Nine Stories, this collection includes "The Killers," the first of Hemingway's mature stories to be accepted by an American periodical; the autobiographical "Fathers and Sons," which alludes, for the first time in Hemingway's career, to his father's suicide; and "The Short Happy Life of Francis Macomber," a brilliant fusion of personal observation, hearsay and invention.

Beautiful in their simplicity, startling in their originality, and unsurpassed in their craftsmanship, the stories in this volume highlight one of America's master storytellers at the top of his form.

Sacred Hunger is a stunning and engrossing exploration of power, domination, and greed. Filled with the "sacred hunger" to expand its empire and its profits, England entered fully into the slave trade and spread the trade throughout its colonies. In this work, Barry Unsworth follows the failing fortunes of William Kemp, a merchant pinning his last chance to a slave ship; his son, who needs a fortune because he is in love with an upper-class woman; and his nephew, who sails on the ship as its doctor because he has lost all he has loved.

The voyage meets its demise when disease spreads among the slaves and the captain's drastic response provokes a mutiny. Joining together, the sailors and the slaves set up a secret, utopian society in the wilderness of Florida, only to await the vengeance of the single-minded, young Kemp.

Saloon-keepers and street preachers, gypsies and steel-walking Mohawks, a bearded lady and a 93-year-old “seafoodetarian” who believes his specialized diet will keep him alive for another two decades. These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.

These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.

The Famished Road is a modern classic that reveals the tension between the land of the living, with its violence and political struggles, and the temptations of the carefree kingdom of the spirits. In the decade since it won the Booker Prize, Ben Okri's Famished Road has become a classic. Like Salman Rushdie's Midnight's Children or Gabriel Garcia Marquez's One Hundred Years of Solitude, it combines brilliant narrative technique with a fresh vision to create an essential work of world literature.

The narrator, Azaro, is an abiku, a spirit child, who in the Yoruba tradition of Nigeria exists between life and death. The life he foresees for himself and the tale he tells is full of sadness and tragedy, but inexplicably he is born with a smile on his face. Nearly called back to the land of the dead, he is resurrected. But in their efforts to save their child, Azaro's loving parents are made destitute.

The tension between the land of the living and the temptations of the carefree kingdom of the spirits propels this latter-day Lazarus's story.

Published two weeks after his seventieth birthday, Ada, or Ardor is one of Nabokov's greatest masterpieces, the glorious culmination of his career as a novelist. It tells a love story troubled by incest. It is also at once a fairy tale, epic, philosophical treatise on the nature of time, parody of the history of the novel, and erotic catalogue. Ada, or Ardor is no less than the supreme work of an imagination at white heat.

This is the first American edition to include the extensive and ingeniously sardonic appendix by the author, written under the anagrammatic pseudonym Vivian Darkbloom.

"Под игото" е първият български роман. Подзаглавие - „Из живота на българина в навечерието на Освобождението“. Написан е от Иван Вазов по време на изгнание в Одеса, пренесен е в България с руската дипломатическа поща.

Композиционно романът се състои от три части и 88 глави, които обхващат подготовката, избухването и потушаването на Априлското въстание. Сюжетното действие започва с идването на Бойчо Огнянов в Бяла Черква през май 1875 г. и завършва с неговата смърт през май 1876 г. Но фабулата на творбата не се изчерпва с личните драми на героите, нито с действията и противодействията им през тази година, защото не личните, а историческите събития са в основата на сюжетното действие и определят неговия епически характер.

Своеобразна кулминация и развръзка на романа са главите "Пиянството на един народ" и "Пробуждане", в които Вазов постига редки за българската литература прозрения по философия на българската история с резките й преходи от опиянение към отрезвяване и страх, от подем към покруса, разочарование и предателство.

Романът "Под игото" е първата книга, която носи литературна слава на Вазов и на България. Въпреки някои слабости и противоречия, това е най-мащабната и недостигната още "енциклопедия на българския национален живот".

Rabbit, Run is the book that established John Updike as one of the major American novelists of his—or any other—generation. Its hero is Harry “Rabbit” Angstrom, a onetime high-school basketball star who on an impulse deserts his wife and son. He is twenty-six years old, a man-child caught in a struggle between instinct and thought, self and society, sexual gratification and family duty—even, in a sense, human hard-heartedness and divine Grace. Though his flight from home traces a zigzag of evasion, he holds to the faith that he is on the right path, an invisible line toward his own salvation as straight as a ruler’s edge.

We is the classic dystopian novel by Yevgeny Zamyatin that has influenced writers from George Orwell to Ayn Rand. In a glass-enclosed city of absolute straight lines, ruled over by the all-powerful 'Benefactor', the citizens of the totalitarian society of OneState live out lives devoid of passion and creativity - until D-503, a mathematician who dreams in numbers, makes a discovery: he has an individual soul.

Set in the twenty-sixth century AD, We was suppressed for many years in Russia and remains a resounding cry for individual freedom, yet is also a powerful, exciting and vivid work of science fiction. Clarence Brown's brilliant translation is based on the corrected text of the novel, first published in Russia in 1988 after more than sixty years' suppression.

Before his 1959 breakthrough, Naked Lunch, an unknown William S. Burroughs wrote Junky, his first novel. It is a candid eye-witness account of times and places that are now long gone, an unvarnished field report from the American post-war underground. Unafraid to portray himself in 1953 as a confirmed member of two socially-despised under classes (a narcotics addict and a homosexual), Burroughs was writing as a trained anthropologist when he unapologetically described a way of life - in New York, New Orleans, and Mexico City - that by the 1940s was already demonized by the artificial anti-drug hysteria of an opportunistic bureaucracy and a cynical, prostrate media.

For this fiftieth-anniversary edition, eminent Burroughs scholar Oliver Harris has painstakingly recreated the author's original text, word by word, from archival typescripts and places the book's contents against a lively historical background in a comprehensive introduction. Here as well, for the first time, are Burroughs' own unpublished introduction and an entire omitted chapter, along with many "lost" passages, as well as auxiliary texts by Allen Ginsberg and others.

A story with no real beginning or end (it ends in the middle of a sentence and begins in the middle of the same sentence), this "book of Doublends Jined" is as remarkable for its prose as for its circular structure. Written in a fantastic dream-language, forged from polyglot puns and portmanteau words, Finnegans Wake features some of Joyce's most hilarious characters: the Irish barkeep Humphrey Chimpden Earwicker, Shem the Penman, Shaun the Postman, and Anna Livia Plurabelle. Joyce's final work, Finnegans Wake is his masterpiece of the night as Ulysses is of the day. Supreme linguistic virtuosity conjures up the dark underground worlds of sexuality and dream.

Joyce undermines traditional storytelling and all official forms of English and confronts the different kinds of betrayal - cultural, political and sexual - that he saw at the heart of Irish history. Dazzlingly inventive, with passages of great lyrical beauty and humour, Finnegans Wake remains one of the most remarkable works of the twentieth century.

Now hailed as an American classic Tropic of Cancer, Henry Miller’s masterpiece, was banned as obscene in this country for twenty-seven years after its first publication in Paris in 1934. Only a historic court ruling that changed American censorship standards, ushering in a new era of freedom and frankness in modern literature, permitted the publication of this first volume of Miller’s famed mixture of memoir and fiction, which chronicles with unapologetic gusto the bawdy adventures of a young expatriate writer, his friends, and the characters they meet in Paris in the 1930s.

Tropic of Cancer is now considered, as Norman Mailer said, "one of the ten or twenty great novels of our century."

زمن الخيول البيضاء هي رواية ملحمية استثنائية كتبها الشاعر والروائي إبراهيم نصرالله. تتزامن هذه الرواية مع الذكرى الستين لاحتلال فلسطين، وهي جزء من المشروع الروائي الكبير الذي يُعرف بـالملهاة الفلسطينية، والذي بدأ العمل عليه منذ عام 1985.

يتضمن المشروع ست روايات، لكل منها أجواؤها الخاصة وشخوصها وبناؤها الفني، وتستقل عن الروايات الأخرى. يستعرض نصرالله في هذا العمل 125 عامًا من تاريخ الشعب الفلسطيني بنظرة نقدية عميقة ومستويات فنية راقية.

ينطلق الكاتب من تلك الحقيقة الراسخة التي تؤكد أن إيماننا بالقضايا الكبيرة يتطلب منا إيجاد مستويات فنية عالية للتعبير عنها.