Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

Auriel W

Blake Molmen

Dani Shahar

Luis Javier Campos nieto

A gargantuan, mind-altering comedy about the Pursuit of Happiness in America. Set in an addicts' halfway house and a tennis academy, and featuring the most endearingly screwed-up family to come along in recent fiction, Infinite Jest explores essential questions about what entertainment is and why it has come to so dominate our lives; about how our desire for entertainment affects our need to connect with other people; and about what the pleasures we choose say about who we are. Equal parts philosophical quest and screwball comedy, Infinite Jest bends every rule of fiction without sacrificing for a moment its own entertainment value. It is an exuberant, uniquely American exploration of the passions that make us human—and one of those rare books that renew the idea of what a novel can do.

One of the best-known experimental novels of the 1960s, Beautiful Losers is Cohen’ s most defiant and uninhibited work. The novel centres upon the hapless members of a love triangle united by their sexual obsessions and by their fascination with Catherine Tekakwitha, the 17th-century Mohawk saint. By turns vulgar, rhapsodic, and viciously witty, Beautiful Losers explores each character’s attainment of a state of self-abandonment, in which the sensualist cannot be distinguished from the saint.

Nausea is the story of Antoine Roquentin, a French writer who is horrified at his own existence. In impressionistic, diary form he ruthlessly catalogues his every feeling and sensation about the world and people around him. His thoughts culminate in a pervasive, overpowering feeling of nausea which "spread at the bottom of the viscous puddle, at the bottom of our time, the time of purple suspenders and broken chair seats; it is made of wide, soft instants, spreading at the edge, like an oil stain." Roquentin's efforts to try and come to terms with his life, his philosophical and psychological struggles, give Sartre the opportunity to dramatize the tenets of his Existentialist creed.The introduction for this edition of Nausea by Hayden Carruth gives background on Sartre's life and major works, a summary of the principal themes of Existentialist philosophy, and a critical analysis of the novel itself.

Perhaps the most important work of philosophy written in the twentieth century, Tractatus Logico-Philosophicus was the only philosophical work that Ludwig Wittgenstein published during his life. Written in short, carefully numbered paragraphs of extreme brilliance, it captured the imagination of a generation of philosophers. For Wittgenstein, logic was something we use to conquer a reality which is in itself both elusive and unobtainable. He famously summarized the book in the following words: 'What can be said at all can be said clearly; and what we cannot talk about we must pass over in silence.' David Pears and Brian McGuinness received the highest praise for their meticulous translation. The work is prefaced by Bertrand Russell's original introduction to the first English edition.

This volume brings together three of Nobel Prize winner Samuel Beckett’s major short stories and thirteen shorter pieces of fiction that he calls “texts for nothing.” Here, as in all his work, Beckett relentlessly strips away all but the essential to arrive at a core of truth. His prose reveals the same mastery that marks his work from Waiting for Godot and Endgame to Molloy and Malone Dies. In each of the three stories, old men displaced or expelled from the modest corners where they have been living bestir themselves in search of new corners. Told, “You can’t stay here,” they somehow, doggedly, inevitably, go on.Includes:“The Expelled”“The Calmative”“The End”Texts for Nothing (1-10)

Samuel Beckett's celebrated early study of Marcel proust, whose theories of time were to play a large part in his own work, was written in 1931. It is a brilliant work of critical insight that also tells us much about its author's own thinking and preoccupations. In its own right it is a masterpiece of literary and philosophical creative writing. This edition was published in 1999 - ten years after the writer's death. The volume also contains the equally celebrated dialogues with the art critic Georges Duthuit - written to record their different points of view after the discussions took place. Beckett always let Duthuit win, but his very unusual and often opposite point of view on the nature and purpose of art is all the more forceful and memorable on that account.

The first novel of Samuel Beckett's mordant and exhilirating midcentury trilogy intoduces us to Molloy, who has been mysteriously incarcerated, and who subsequently escapes to go discover the whereabouts of his mother. In the latter part of this curious masterwork, a certain Jacques Moran is deputized by anonymous authorities to search for the aforementioned Molloy. In the trilogy's second novel, Malone, who might or might not be Molloy himself, addresses us with his ruminations while in the act of dying. The third novel consists of the fragmented monologue - delivered, like the monologues of the previous novels, in a mournful rhetoric that possesses the utmost splendor and beauty - of what might or might not an armless and legless creature living in an urn outside an eating house. Taken together, these three novels represent the high-water mark of the literary movement we call Modernism. Within their linguistic terrain, where stories are taken up, broken off, and taken up again, where voices rise and crumble and are resurrected, we can discern the essential lineaments of our modern condition, and encounter an awesome vision, tragic yet always compelling and always mysteriously invigorating, of consciousness trapped and struggling inside the boundaries of nature.

The Unnamable consists entirely of a disjointed monologue from the perspective of an unnamed (presumably unnamable) and immobile protagonist. There is no concrete plot or setting - and whether the other characters ("Mahood" (formerly "Basil") and "Worm") actually exist or whether they are facets of the narrator himself is debatable. The protagonist also claims authorship of the main characters in the two previous novels of the Trilogy and Beckett's earlier novels Murphy, Mercier and Camier, and Watt. The novel is a mix of recollections and existential musings on the part of its narrator, many of which pertain specifically to the possibility that the narrator is constructed by the language he speaks. Other 'characters' (a stretch to call them distinctly different than the narrator) serve as the passive recipient of the dialogue and in many places (as the narrator suggests) the dialogue's genesis. The novel builds in its despairing tone until the ending, which consists mainly of very long run-on sentences. It closes with the phrase "I can't go on, I'll go on," which was later used as the title of an anthology of Beckett works.The Unnamable is a 1953 novel by Samuel Beckett. It is the third and final entry in Beckett's "Trilogy" of novels, which begins with Molloy followed by Malone Dies. It was originally published in French as L'Innommable and later translated by the author into English. Grove Press published the English edition in 1958.

Molloy, the first of the three masterpieces which constitute Samuel Beckett’s famous trilogy, appeared in French in 1951, followed seven months later by Malone Dies (Malone meurt), and two years later by The Unnamable (L’Innommable). Few works of contemporary literature have been so universally acclaimed as central to their time and to our understanding of the human experience.

The seventeen pieces in Ficciones demonstrate the whirlwind of Borges's genius and mirror the precision and potency of his intellect and inventiveness, his piercing irony, his skepticism, and his obsession with fantasy. Borges sends us on a journey into a compelling, bizarre, and profoundly resonant realm; we enter the fearful sphere of Pascal's abyss, the surreal and literal labyrinth of books, and the iconography of eternal return. To enter the worlds in Ficciones is to enter the mind of Jorge Luis Borges, wherein lies Heaven, Hell, and everything else in between. Part One: The Garden of Forking Paths Prologue Tlön, Uqbar, Orbis Tertius (1940) The Approach to Al-Mu'tasim (1936, not included in the 1941 edition) Pierre Menard, Author of the Quixote (1939) The Circular Ruins (1940) The Lottery in Babylon (1941) An Examination of the Work of Herbert Quain (1941) The Library of Babel (1941) The Garden of Forking Paths (1941) Part Two: Artifices Prologue Funes the Memorious (1942) The Form of the Sword (1942) Theme of the Traitor and the Hero (1944) Death and the Compass (1942) The Secret Miracle (1943) Three Versions of Judas (1944) The End (1953, 2nd edition only) The Sect of the Phoenix (1952, 2nd edition only) The South (1953, 2nd edition only)

The Divine Comedy describes Dante's descent into Hell with Virgil as a guide; his ascent of Mount Purgatory and encounter with his dead love, Beatrice; and finally, his arrival in Heaven. Examining questions of faith, desire and enlightenment, the poem is a brilliantly nuanced and moving allegory of human redemption. Dante Alighieri was born in Florence in 1265 and belonged to a noble but impoverished family. His life was divided by political duties and poetry, the most of famous of which was inspired by his meeting with Bice Portinari, whom he called Beatrice,including La Vita Nuova and The Divine Comedy. He died in Ravenna in 1321.

Drama set in a repressed, deeply religious community in the north of Scotland, where a naive young woman named Bess McNeil meets and falls in love with Danish oil-rig worker Jan. Bess and Jan are deeply in love but, when Jan returns to his rig, Bess prays to God that he returns for good. Jan does return, his neck broken in an accident aboard the rig. Because of his condition, Jan and Bess are now unable to enjoy a sexual relationship and Jan urges Bess to take another lover and tell him the details. As Bess becomes more and more deviant in her sexual behavior, the more she comes to believe that her actions are guided by God and are helping Jan recover.

After an uncomfortable, borderline disturbing visitation by a cryptic neighbour, the fading movie star, Nikki Grace, is thrilled to hear that she has just landed herself the female lead role in director Kingsley Stewart's sensational Southern melodrama called "On High in Blue Tomorrows". However, as she gradually disappears into her complex role, Nikki's character, Susan Blue, starts to emerge from the labyrinthine pathways of her unconscious, creeping into her delicate consciousness. More and more, as Nikki's dissociation becomes more aggressive, and her self-transcendent experience sets in motion a sometimes subtle, sometimes profound transformation, parallel worlds interweave, and a mysterious lost girl tuned into the TV sitcom,

Fred Madison, a saxophonist, is accused under mysterious circumstances of murdering his wife Renee. On death row, he inexplicably morphs into a young man named Pete Dayton, leading a completely different life. When Pete is released, his and Fred's paths begin to cross in a surreal, suspenseful web of intrigue, orchestrated by a shady gangster boss named Dick Laurent.

Dani (Florence Pugh) and Christian (Jack Reynor) are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, Christian invites a grieving Dani to join him and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in the North European land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing.

Protagonist Alex DeLarge is an "ultraviolent" youth in futuristic Britain. As with all luck, his eventually runs out and he's arrested and convicted of murder. While in prison, Alex learns of an experimental program in which convicts are programmed to detest violence. If he goes through the program, his sentence will be reduced and he will be back on the streets sooner than expected. But Alex's ordeals are far from over once he hits the streets of Britain..

Set in Hong Kong, 1962, Chow Mo-Wan is a newspaper editor who moves into a new building with his wife. At the same time, Su Li-zhen, a beautiful secretary and her executive husband also move in to the crowded building. With their spouses often away, Chow and Li-zhen spend most of their time together as friends. They have everything in common from noodle shops to martial arts. Soon, they are shocked to discover that their spouses are having an affair. Hurt and angry, they find comfort in their growing friendship even as they resolve not to be like their unfaithful mates.

A documentary which challenges former Indonesian death-squad leaders to reenact their mass-killings in whichever cinematic genres they wish, including classic Hollywood crime scenarios and lavish musical numbers.

2012 Danish documentary film directed by Joshua Oppenheimer

Claude Lanzmann directed this 9 1/2 hour documentary of the Holocaust without using a single frame of archive footage. He interviews survivors, witnesses, and ex-Nazis (whom he had to film secretly since they only agreed to be interviewed by audio). His style of interviewing by asking for the most minute details is effective at adding up these details to give a horrifying portrait of the events of Nazi genocide. He also shows, or rather lets some of his subjects themselves show, that the anti-Semitism that caused 6 million Jews to die in the Holocaust is still alive and well in many people who still live in Germany, Poland, and elsewhere.

1985 French documentary film about the Holocaust

Journalist Jep Gambardella has charmed and seduced his way through the lavish nightlife of Rome for decades. Since the legendary success of his one and only novel, he has been a permanent fixture in the city's literary and social circles, but when his 65th birthday coincides with a shock from the past, Jep finds himself unexpectedly taking stock of his life, turning his cutting wit on himself and his contemporaries, and looking past the extravagant nightclubs, parties, and cafés to find Rome in all its glory: a timeless landscape of absurd, exquisite beauty.

One night Maloin, a switchman at a seaside railway station situated by a ferry harbor, witnesses a terrible event. He is just watching the arrival of the last ferry at night from his control room on top of a high iron traverse from where he can see the whole bay. Suddenly he notices that the first of the disembarking passengers, a tall thin figure (a certain Brown as it will turn out later) leaves the harbor, but not on the usual route: after getting through customs, he goes around the dock and then withdraws into a dark corner, waiting. Opposite him, in front of the ship, another man soon appears and throws a suitcase towards the man on the shore. He goes and picks it up, then waits in an dark corner for the other man to join him. When he arrives, however, they begin to quarrel and finally, in the course of the vehement fight, due to a hit that turns out to be fatal, the shorter one falls in the water and sinks, clutching the suitcase in his hand. Maloin is watching the scene, astonished. In a state of fear and shock, he opens the door of his control room, but the sharp and loud creaking sound disturbs and frightens away the murderer. Brown is forced to flee before being able to fish out the suitcase from the water. After the murderer disappears down one of the streets behind the harbor, Maloin cautiously climbs down from his cabin to the shore. When he realizes that there is nothing he can do for the victim, he dredges up the suitcase. He takes it up to his control room and opens it: it is packed with money. He is dazzled. He does not go either to call the police or fetch the murderer; he just stares at the pile of money. He simply cannot believe his eyes. Then, after meticulously drying and counting the banknotes, he hides the suitcase in his closet and locks it. At dawn, when his colleague arrives, he acts as if nothing had happened. He returns home on his usual route. Nevertheless, this path is not the same anymore;

2007 film by Béla Tarr, Ágnes Hranitzky

Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the Titanik Bar and its beautiful, haunting singer. But the lady is married and Karrer is determined to keep her husband away...

1889. German philosopher Friedrich Nietzsche witnessed the whipping of a horse while traveling in Turin, Italy. He tossed his arms around the horse's neck to protect it then collapsed to the ground. In less than one month, Nietzsche would be diagnosed with a serious mental illness that would make him bed-ridden and speechless for the next eleven years until his death. But whatever did happen to the horse? This film, which is Tarr's last, follows up this question in a fictionalized story of what occurred. The man who whipped the horse is a rural farmer who makes his living taking on carting jobs into the city with his horse-drawn cart. The horse is old and in very poor health, but does its best to obey its master's commands. The farmer and his daughter must come to the understanding that it will be unable to go on sustaining their livelihoods. The dying of the horse is the foundation of this tragic tale.

2011 film by Béla Tarr, Ágnes Hranitzky

"2001" is a story of evolution. Sometime in the distant past, someone or something nudged evolution by placing a monolith on Earth (presumably elsewhere throughout the universe as well). Evolution then enabled humankind to reach the moon's surface, where yet another monolith is found, one that signals the monolith placers that humankind has evolved that far. Now a race begins between computers (HAL) and human (Bowman) to reach the monolith placers. The winner will achieve the next step in evolution, whatever that may be.

In 73 B.C., a Thracian slave leads a revolt at a gladiatorial school run by Lentulus Batiatus (Sir Peter Ustinov). The uprising soon spreads across the Italian Peninsula involving thousand of slaves. The plan is to acquire sufficient funds to acquire ships from Silesian pirates who could then transport them to other lands from Brandisium in the south. The Roman Senator Gracchus (Charles Laughton) schemes to have Marcus Publius Glabrus (John Dall), Commander of the garrison of Rome, lead an army against the slaves who are living on Vesuvius. When Glabrus is defeated his mentor, Senator and General Marcus Licinius Crassus (Sir Laurence Olivier) is greatly embarrassed and leads his own army against the slaves. Spartacus and the thousands of freed slaves successfully make their way to Brandisium only to find that the Silesians have abandoned them. They then turn north and must face the might of Rome.

The feature film directed by Elem Klimov, shot in the genre of military drama. The action takes place on the territory of Belarus in 1943. In the center of the story is a Belarusian boy, who witnesses the horrors of the Nazi punitive action, turning from a cheerful teenager into a gray-haired old man for two days.

A Knight and his squire are home from the crusades. Black Death is sweeping their country. As they approach home, Death appears to the knight and tells him it is his time. The knight challenges Death to a chess game for his life. The Knight and Death play as the cultural turmoil envelopes the people around them as they try, in different ways, to deal with the upheaval the plague has caused.

A two-segment look at the effect of the military mindset and war itself on Vietnam era Marines. The first half follows a group of recruits in boot camp under the command of the punishing Gunnery Sergeant Hartman. The second half shows one of those recruits, Joker, covering the war as a correspondent for Stars and Stripes, focusing on the Tet offensive.

1987 war drama film directed by Stanley Kubrick

Paranoid Brigadier General Jack D. Ripper of Burpelson Air Force Base, believing that fluoridation of the American water supply is a Soviet plot to poison the U.S. populace, is able to deploy through a back door mechanism a nuclear attack on the Soviet Union without the knowledge of his superiors, including the Chair of the Joint Chiefs of Staff, General Buck Turgidson, and President Merkin Muffley. Only Ripper knows the code to recall the B-52 bombers and he has shut down communication in and out of Burpelson as a measure to protect this attack. Ripper's executive officer, RAF Group Captain Lionel Mandrake (on exchange from Britain), who is being held at Burpelson by Ripper, believes he knows the recall codes if he can only get a message to the outside world. Meanwhile at the Pentagon War Room, key persons including Muffley, Turgidson and nuclear scientist and adviser, a former Nazi named Dr. Strangelove, are discussing measures to stop the attack or mitigate its blow-up into an all out nuclear war with the Soviets. Against Turgidson's wishes, Muffley brings Soviet Ambassador Alexi de Sadesky into the War Room, and get his boss, Soviet Premier Dimitri Kisov, on the hot line to inform him of what's going on. The Americans in the War Room are dismayed to learn that the Soviets have an as yet unannounced Doomsday Device to detonate if any of their key targets are hit. As Ripper, Mandrake and those in the War Room try and work the situation to their end goal, Major T.J. "King" Kong, one of the B-52 bomber pilots, is working on his own agenda of deploying his bomb where ever he can on enemy soil if he can't make it to his intended target.

1964 British satire film directed by Stanley Kubrick

In the eighteenth century, in a small village in Ireland, Redmond Barry (Ryan O'Neal) is a young farm boy in love with his cousin Nora Brady (Gay Hamilton). When Nora gets engaged to British Captain John Quin (Leonard Rossiter), Barry challenges him to a duel of pistols. He wins and escapes to Dublin, but is robbed on the road. Without an alternative, Barry joins the British Army to fight in the Seven Years War. He deserts and is forced to join the Prussian Army, where he saves the life of his Captain and becomes his protégé and spy of Irish gambler Chevalier de Balibari (Patrick Magee). He helps Chevalier and becomes his associate until he decides to marry the wealthy Lady Lyndon (Marisa Berenson). They move to England and Barry, in his obsession of nobility, dissipates her fortune and makes a dangerous and revengeful enemy.

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