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1775-The conflict between the British Empire and the American colonies erupts in all-out war. Rebels and loyalists to the British Crown compete for an alliance with the Six Nations of the Iroquois, the most powerful Indian confederation, boasting a constitution hundreds of years old. In the Mohawk River Valley, Native Americans and colonists have co-existed for generations. But as the thunder of war approaches and the United States struggles violently into existence, old bonds are broken, friends and families are split by betrayal, and this mixed community is riven by hatred and resentment. To save his threatened world, the Mohawk war chief Joseph Brant sets off in a restless journey that will take him from New York to the salons of Georgian London at the heart of the British Empire.
"My Grandfather's Gallery tells Paul Rosenberg's story in bits and pieces that construct a life and a legend through association . . . A detailed and important record of twentieth century art."-The Boston Globe On September 20, 1940, one of the most famous European art dealers disembarked in New York, one of hundreds of Jewish refugees fleeing Vichy France. Leaving behind his beloved Paris gallery, Paul Rosenberg had managed to save his family, but his paintings--modern masterpieces by the likes of Cézanne, Monet, and Sisley--were not so fortunate. As he fled, dozens of works were seized by Nazi forces, and the art dealer's own legacy was eradicated. More than half a century later, Anne Sin...
“The matchless French crime novelist” -- Adam Gopnik, The New Yorker “One of the greatest writers of the twentieth century . . . Simenon was unequaled at making us look inside, though the ability was masked by his brilliance at absorbing us obsessively in his stories.” —The Guardian A chilling Inspector Maigret mystery set on the Belgian border “She wasn't an ordinary supplicant. She didn't lower her eyes. There was nothing humble about her bearing. She spoke frankly, looking straight ahead, as if to claim what was rightfully hers. ‘If you don't agree to look at our case, my parents and I will be lost, and it will be the most hateful legal error...’” Maigret is asked to the windswept, rainy border town of Givet by a young woman desperate to clear her family of murder. But their well-kept shop, the sleepy community and its raging river all hide their own mysteries.
The female musicians of the Instituto della Pietà play from a gallery in the church, their faces half hidden by metal grilles. They live segregated from the world. Cecilia, is a violinist who, during anguished, sleepless nights, writes letters to the mother she never knew, haunted by her and hating her by turns. She eats little and cannot sleep. But things begin to change when a new violin teacher arrives at the institute. The astonishing music of Vivaldi, the 'Red Priest', electrifies her and changes her attitude to life, compelling her to make a courageous choice.
When a teacher is found dead, having apparently committed suicide, his friend and colleague takes over class 4F and finds himself responsible for a group of subdued and strangely menacing pupils. Pierre Hoffman soon begins to understand the extent of their bizarre solidarity and their ultimate goal.
Written with pace, humor, and startling literary allusion, Lilian Faschinger's novel is the story of the sensual Magdalena, who, disguised in a nun's habit, kidnaps a priest at gunpoint and drives him in the sidecar of her Puch motorbike to a remote forest clearing where she ties him to a tree. What she is about to confess to him is profoundly shocking: All Magdalena wanted was to find true love. What she found instead was a string of lovers who each made the fatal mistake of disappointing her. From a Latin dance instructor who uses a metronome to help him keep his rhythm in bed to a Ukrainian who plays mental chess games at the gravesite of former grandmaster Alexander Alekhine, Magdalena's men all lost their lives when they no longer satisfied her; perishing by her hand through poison, drowning, and incineration.A head-on collision between Church and sex, Magdalena the Sinner interweaves highly charged erotica with modern views on Catholicism, feminism, and the tensions between men and women.
A haunting feminist sci-fi masterpiece and international bestseller that is “as absorbing as Robinson Crusoe” (Doris Lessing) While vacationing in a hunting lodge in the Austrian mountains, a middle-aged woman awakens one morning to find herself separated from the rest of the world by an invisible wall. With a cat, a dog, and a cow as her sole companions, she learns how to survive and cope with her loneliness. Allegorical yet deeply personal and absorbing, The Wall is at once a critique of modern civilization, a nuanced and loving portrait of a relationship between a woman and her animals, a thrilling survival story, a Cold War-era dystopian adventure, and a truly singular feminist classic.
Shirin-Gol was just a young girl when her village was levelled by the Russians' bombs in 1979. After the men in her family joined the resistance, she fled with the women and children to the capital, Kabul, and so began a life of day-to-day struggle in her war-torn country. A life that includes a period living in the harsh conditions of a Pakistani refugee camp, being forced into a marriage to pay off her brother's gambling debts, selling her body and begging for the money to feed her growing family, an attempted suicide, and an unsuccessful endeavour to leave Afghanistan for Iran after the Taliban seized control of her country. Told truthfully and with unflinching detail to writer and documentary-maker Siba Shakib, and incorporating some of the shocking experiences of Shirin-Gol's friends and family members, this is the story of the fate of many of the women in Afghanistan. But it is also a story of great courage, the moving story of a proud woman, a woman who did not want to be banished to a life behind the walls of her house, or told how to dress, who wanted an education for her children so that they could have a chance of a future, to live their lives without fear and poverty. .
In the late nineteenth and early twentieth centuries, modernist writers developed new techniques for depicting characters' thoughts, feelings, and desires that revolutionized the novel form—a revolution novelists and critics are still reckoning with today. Troubling Late Modernism tracks how those techniques have been perversely reinvented by some of the most influential and innovative writers of the postwar period. Chapters on Vladimir Nabokov, Samuel Beckett, Toni Morrison, John Banville, J. M. Coetzee, and Eimear McBride reveal how these writers at once exploit and extend modernist forms of narration to cultivate disquieting affective attachments to protagonists compelled by violent or ...