A NEW YORK REVIEW BOOKS ORIGINAL Novels in Three Lines collects more than a thousand items that appeared anonymously in the French newspaper Le Matin in 1906—true stories of murder, mayhem, and everyday life presented with a ruthless economy that provokes laughter even as it shocks. This extraordinary trove, undiscovered until the 1940s and here translated for the first time into English, is the work of the mysterious Félix Fénéon. Dandy, anarchist, and critic of genius, the discoverer of Georges Seurat and the first French publisher of James Joyce, Fénéon carefully maintained his own anonymity, toiling for years as an obscure clerk in the French War Department. Novels in Three Lines is his secret chef-d’oeuvre, a work of strange and singular art that brings back the long-ago year of 1906 with the haunting immediacy of a photograph while looking forward to such disparate works as Walter Benjamin’s Arcades Project and the Death and Disaster series of Andy Warhol.
This tour de force political thriller, told in Manchette's signature noir style, follows a group of far left extremists in the throes of post-1968 disillusionment. The thrill of 1968 is long over, and the heavy fog of the 1970s has settled in. In Paris, however, the Nada gang—or groupuscule—still retains a militant attachment to its revolutionary dreams. Bringing together an anarchist orphaned by the Spanish Civil War, a Communist veteran of the French resistance, a frustrated high-school teacher of philosophy, a timid office worker, a terminal alcoholic, and one uncompromising young woman with a house in the country, Nada sets out to kidnap the American ambassador and issue a call to arms. What could possibly go wrong?
Pedigree is Georges Simenon’s longest, most unlikely, and most adventurous novel, the book that is increasingly seen to lie at the heart of his outsize achievement as a chronicler of modern self and society. In the early 1940s, Simenon began work on a memoir of his Belgian childhood. He showed the initial pages to André Gide, who urged him to turn them into a novel. The result was, Simenon later quipped, a book in which everything is true but nothing is accurate. Spanning the years from the beginning of the century, with its political instability and terrorist threats, to the end of the First World War in 1918, Pedigree is an epic of everyday existence in all its messy unfinished intensity and density, a story about the coming-of-age of a precocious and curious boy and the coming to be of the modern world.
By connecting Fenian and anarchist violence found in popular fiction from the 1880s to the early 1900s with the avant-garde writing of British modernism, Deaglan O Donghaile demonstrates that Victorian popular fiction and modernism were directly influence
This is the second publication in Brill's handbook series "The Classical Tradition," The subject of this volume is that group of works of extended prose narrative fiction which bears many similarities to the modern novel and which appeared in the later classical periods in Greece and Rome. The ancient novel has enjoyed renewed popularity in recent years not only among students of literature, but also among those looking for new sources on the popular culture of antiquity and among scholars of religion. The volume surveys the new insights and approaches to the ancient novel which have emerged form the application of a variety of disciplines in the recent years. The 25 senior scholars contributing to the volume are drawn from a broad range of European and North American traditions of scholarship. Chapters cover the important issues dealing with the novel, novelists, novel-like works of fiction, their development, transformation, Christianisation and Nachleben, as well as a broad range of matters, from literary/philological to cultural/historical and religious, which concerns modern scholars in the field. This publication has also been published in paperback, please click here for details.
Alien Hearts was the last book that Guy de Maupassant finished before his death at the early age of forty-three. It is the most original and psychologically penetrating of his several novels, and the one in which he attains a truly tragic perception of the wounded human heart. André Mariolle is a rich, handsome, gifted young man who cannot settle on what to do with himself. Madame de Burne, a glacially dazzling beauty, wants Mariolle to attend her exclusive salon for artists, composers, writers, and other intellectuals. At first Mariolle keeps his distance, but then he hits on the solution to all his problems: caring for nothing in particular, he will devote himself to being in love; Madame de Burne will be his everything. Soon lover and beloved are equally lost within a hall of mirrors of their common devising. Richard Howard’s new English translation of this complex and brooding novel—the first in more than a hundred years—reveals the final, unexpected flowering of a great French realist’s art.
A New York Review Books Original Everything Flows is Vasily Grossman’s final testament, written after the Soviet authorities suppressed his masterpiece, Life and Fate. The main story is simple: released after thirty years in the Soviet camps, Ivan Grigoryevich must struggle to find a place for himself in an unfamiliar world. But in a novel that seeks to take in the whole tragedy of Soviet history, Ivan’s story is only one among many. Thus we also hear about Ivan’s cousin, Nikolay, a scientist who never let his conscience interfere with his career, and Pinegin, the informer who got Ivan sent to the camps. Then a brilliant short play interrupts the narrative: a series of informers steps forward, each making excuses for the inexcusable things that he did—inexcusable and yet, the informers plead, in Stalinist Russia understandable, almost unavoidable. And at the core of the book, we find the story of Anna Sergeyevna, Ivan’s lover, who tells about her eager involvement as an activist in the Terror famine of 1932–33, which led to the deaths of three to five million Ukrainian peasants. Here Everything Flows attains an unbearable lucidity comparable to the last cantos of Dante’s Inferno.
'These hours of solitude and meditation are the only time of the day when I am completely myself' Reveries of the Solitary Walker is Rousseau's last great work, the product of his final years of exile from the society that condemned his political and religious views. Returning to Paris the philosopher determines to keep a faithful record of the thoughts and ideas that come to him on his perambulations. Part reminiscence, part reflection, enlivened by anecdote and encounters, the Reveries form a kind of sequel to his Confessions, but they are more introspective and less defensive: Rousseau finds happiness in solitude, walks in nature, botanizing, and meditation. Writing an account of his walks becomes a means of achieving self-knowledge and safeguarding for himself the pleasure that others, he is convinced, seek to deny him. The Reveries, shaped by the unmediated nature of Rousseau's thought processes, give powerfully lyrical expression to a painfully tortured soul in search of peace. This new translation is accompanied by an introduction and notes that explore the nature of the work and its historical, literary, and intellectual contexts. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. 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, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Childhood Boyhood Youth The Cossacks War and Peace Father Sergius Anna Karenina Ivan the Fool Evil allures, but good endures Where Love is, There God is Also The Death of Ivan Ilych The Imp and the Crust An Old Acquaintance The Young Tsar Master and Man Esarhaddon, King of Assyria Work, Death, and Sickness There are No Guilty People Little Girls Wiser Than Men