La fin de l homme rouge ou le temps du d senchantement
Après soixante-dix ans de marxisme-léninisme, après des millions de morts, après l'implosion de l'URSS, que reste-t-il de l'Homo sovieticus ? Armée d'un magnétophone et d'un stylo, mue par l'attention et la fidélité, Svetlana Alexievitch a rencontré des survivants qui ont vécu la petite histoire d'une grande utopie et témoignent de cette tragédie qu'a été l'Union soviétique. Ce magnifique requiem fait ainsi résonner des centaines de voix brisées : des humiliés et des offensés, des gens bien, d'autres moins bien, des mères déportées avec leurs enfants, des staliniens impénitents malgré le Goulag, des enthousiastes de la perestroïka ahuris devant le capitalisme triomphant et, aujourd'hui, des citoyens résistant à l'instauration de nouvelles dictatures... A la fin subsiste cette interrogation : pourquoi un tel malheur ? Le malheur russe ? Impossible en effet de se départir de l'impression que ce pays a été "l'enfer d'une autre planète".
War s Unwomanly Face
"This book is a confession, a document and a record of people's memory. More than 200 women speak in it, describing how young girls, who dreamed of becoming brides, became soldiers in 1941. More than 500,000 Soviet women participated on a par with men in the Second World War, the most terrible war of the 20th century. Women not only rescued and bandaged the wounded but also fires a sniper's rifle, blew up bridges, went reconnoitering and killed... They killed the enemy who, with unprecedented cruelty, had attacked their land, their homes and their children. Soviet writer of Byelorussia, Svetlana Alexiyevich spent four years working on the book, visiting over 100 cities and towns, settlements and villages and recording the stories and reminiscences of women war veterans. The soviet press called the book 'a vivid reporting of events long past, which affected the destiny of the nation as a whole.' The most important thing about the book is not so much the front-line episodes as women's heart-rending experiences in the war. Through their testimony the past makes an impassioned appeal to the present, denouncing yesterday's and today's fascism..."--
Generations of Winter
Follows the lives and fortunes of members of the Gradov family of Moscow, through the turbulent years 1928 to 1945, through Stalin's rise in the 1930s and the turbulence and terror of World War II. By the author of The Burn. 15,000 first printing.
Colonel Chabert, a Napoleonic War hero supposedly killed in the Battle of Eylau, returns to Paris after a long convalescence to find his wife remarried, and his pension gone. He employs a young, well-known lawyer to at least reclaim his pension. It is a game of wits: first to convince the lawyer that he is who he says he is; secondly to get his wife to admit to his identity and thereby give up some of her wealth. Once the lawyer believes Chabert's story, the wife must be made to part with his pension...
Ulysses (1922) is a novel by the Irish author James Joyce. It was first serialised in parts in the American journal The Little Review from March 1918 to December 1920, and then published in its entirety by Sylvia Beach on 2 February 1922, in Paris. Joyce's technical innovations in the art of the novel... he used a complex network of symbolic parallels drawn from the mythology, history, and literature, and created a unique language of invented words, puns, and allusions. One of the most important works of Modernist literature, it has been called "a demonstration and summation of the entire movement". "Before Joyce, no writer of fiction had so foregrounded the process of thinking." Written over a seven-year period from 1914 to 1921. No book has ever been more eagerly and curiously awaited by the strange little inner circle of book-lovers and littérateurs than James Joyce's "Ulysses".
The Unwomanly Face of War
A long-awaited English translation of the groundbreaking oral history of women in World War II across Europe and Russia—from the winner of the Nobel Prize in Literature “A landmark.”—Timothy Snyder, author of On Tyranny: Twenty Lessons from the Twentieth Century For more than three decades, Svetlana Alexievich has been the memory and conscience of the twentieth century. When the Swedish Academy awarded her the Nobel Prize, it cited her invention of “a new kind of literary genre,” describing her work as “a history of emotions . . . a history of the soul.” In The Unwomanly Face of War, Alexievich chronicles the experiences of the Soviet women who fought on the front lines, on the home front, and in the occupied territories. These women—more than a million in total—were nurses and doctors, pilots, tank drivers, machine-gunners, and snipers. They battled alongside men, and yet, after the victory, their efforts and sacrifices were forgotten. Alexievich traveled thousands of miles and visited more than a hundred towns to record these women’s stories. Together, this symphony of voices reveals a different aspect of the war—the everyday details of life in combat left out of the official histories. Translated by the renowned Richard Pevear and Larissa Volokhonsky, The Unwomanly Face of War is a powerful and poignant account of the central conflict of the twentieth century, a kaleidoscopic portrait of the human side of war. “But why? I asked myself more than once. Why, having stood up for and held their own place in a once absolutely male world, have women not stood up for their history? Their words and feelings? They did not believe themselves. A whole world is hidden from us. Their war remains unknown . . . I want to write the history of that war. A women’s history.”—Svetlana Alexievich THE WINNER OF THE NOBEL PRIZE IN LITERATURE “for her polyphonic writings, a monument to suffering and courage in our time.” “Patient in overcoming cliché, attentive to the unexpected, and restrained in exposition, her writing reaches those far beyond her own experiences and preoccupations, far beyond her generation, and far beyond the lands of the former Soviet Union.”—Timothy Snyder, author of On Tyranny: Twenty Lessons from the Twentieth Century “Alexievich’s artistry has raised oral history to a totally different dimension. It is no wonder that her brilliant obsession with what Vasily Grossman called ‘the brutal truth of war’ was suppressed for so long by Soviet censors, because her unprecedented pen portraits and interviews reveal the face of war hidden by propaganda.”—Antony Beevor, author of Stalingrad: The Fateful Siege “[Alexievich moves] away from military narrative and [tells] the tales of Soviet women who took on male roles, fought on the front lines, killed and got killed, but still looked at the shattered world around them from a feminine perspective, focusing on human suffering and basic emotions free of any pathos.”—Newsweek “A mighty documentarian and a mighty artist . . . Her books are woven from hundreds of interviews, in a hybrid form of reportage and oral history that has the quality of a documentary film on paper. But Alexievich is anything but a simple recorder and transcriber of found voices; she has a writerly voice of her own which emerges from the chorus she assembles, with great style and authority, and she shapes her investigations of Soviet and post-Soviet life and death into epic dramatic chronicles as universally essential as Greek tragedies.”—The New Yorker
Swann s Way
Swann’s Way is The first volume of the book “In serch of the lost time”, that established Proust as one of the finest voices of the modern age-satirical, skeptical, confiding, and endlessly varied in his response to the human condition. Swann’s Way also stands on its own as a perfect rendering of a life in art, of the past re-created through memory.
NEW YORK TIMES BESTSELLER • The magnum opus and latest work from Svetlana Alexievich, the 2015 winner of the Nobel Prize in Literature—a symphonic oral history about the disintegration of the Soviet Union and the emergence of a new Russia NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY THE WASHINGTON POST AND PUBLISHERS WEEKLY • LOS ANGELES TIMES BOOK PRIZE WINNER NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times • The Washington Post • The Boston Globe • The Wall Street Journal • NPR • Financial Times • Kirkus Reviews When the Swedish Academy awarded Svetlana Alexievich the Nobel Prize, it cited her for inventing “a new kind of literary genre,” describing her work as “a history of emotions—a history of the soul.” Alexievich’s distinctive documentary style, combining extended individual monologues with a collage of voices, records the stories of ordinary women and men who are rarely given the opportunity to speak, whose experiences are often lost in the official histories of the nation. In Secondhand Time, Alexievich chronicles the demise of communism. Everyday Russian citizens recount the past thirty years, showing us what life was like during the fall of the Soviet Union and what it’s like to live in the new Russia left in its wake. Through interviews spanning 1991 to 2012, Alexievich takes us behind the propaganda and contrived media accounts, giving us a panoramic portrait of contemporary Russia and Russians who still carry memories of oppression, terror, famine, massacres—but also of pride in their country, hope for the future, and a belief that everyone was working and fighting together to bring about a utopia. Here is an account of life in the aftermath of an idea so powerful it once dominated a third of the world. A magnificent tapestry of the sorrows and triumphs of the human spirit woven by a master, Secondhand Time tells the stories that together make up the true history of a nation. “Through the voices of those who confided in her,” The Nation writes, “Alexievich tells us about human nature, about our dreams, our choices, about good and evil—in a word, about ourselves.” Praise for Svetlana Alexievich and Secondhand Time “The nonfiction volume that has done the most to deepen the emotional understanding of Russia during and after the collapse of the Soviet Union of late is Svetlana Alexievich’s oral history Secondhand Time.”—David Remnick, The New Yorker “Like the greatest works of fiction, Secondhand Time is a comprehensive and unflinching exploration of the human condition. . . . In its scope and wisdom, Secondhand Time is comparable to War and Peace.”—The Wall Street Journal “Already hailed as a masterpiece across Europe, Secondhand Time is an intimate portrait of a country yearning for meaning after the sudden lurch from Communism to capitalism in the 1990s plunged it into existential crisis.”—The New York Times “This is the kind of history, otherwise almost unacknowledged by today’s dictatorships, that matters.”—The Christian Science Monitor “In this spellbinding book, Svetlana Alexievich orchestrates a rich symphony of Russian voices telling their stories of love and death, joy and sorrow, as they try to make sense of the twentieth century.”—J. M. Coetzee
Continuing his quest for sense and beauty, Wajdi Mouawad has plunged into the turbulent depths of writing to discover, washed up midst the sand dunes, fiery tales lost in the mists of time. Making their way through the dunes are Nawal's twin children, Janine and Simon, who want to solve the mystery of their origins. In retracing the bitter history of their mother (enveloped in silence until her death), other characters come into the story - witnesses or key players able to assist in the investigation. Carried aloft by poetic language, the inquiry pursued by Janine and Simon unfolds in a dreamlike atmosphere that cultivates the mystery surrounding a knife thrust into the heart of childhood.
The Lewis Man
Marilyn Stasio in The New York Times raved: "Peter May is a writer I'd follow to the ends of the earth." Among the many honors received, The Blackhouse, the first novel in May's acclaimed Lewis trilogy, won the Barry and Crime Thriller Hound awards. In The Lewis Man, the second book of the trilogy, Fin Macleod has returned to the Isle of Lewis, the storm-tossed, wind-scoured outer Hebridean island where he was born and raised. Having left behind his adult life in Edinburgh--including his wife and his career in the police force--the former Detective Inspector is intent on repairing past relationships and restoring his parents' derelict cottage. His plans are interrupted when an unidentified corpse is recovered from a Lewis peat bog. The only clue to its identity is a DNA match to a local farmer, the now-senile Tormod Macdonald--the father of Fin's childhood sweetheart, Marsaili--a man who has claimed throughout his life to be an only child, practically an orphan. Reluctantly drawn into the investigation, Fin uncovers deep family secrets even as he draws closer to the killer who wishes to keep them hidden. Already an international bestseller and winner of numerous awards, including France's Prix des Lecteurs du Telegramme, The Lewis Man has the lyrical verve of Ian Rankin and the gutsy risk-taking of Benjamin Black. As fascinating and forbidding as the Hebridean landscape, the book (according to The Times) "throbs with past and present passions, jealousies, suspicions and regrets; the emotional secrets of the bleak island are even deeper than its peat bog."