Elena Rainn

KRKY Y

Kyrsten Iris

Coen Van loo

_ eshago@uw.edu

Watashi Wa Jigabudesu

Roman Bryzhatiy

Karl Halmos-Westram

Timothy Galvin

Jackie

Ljsly Bernard

Ruby Brown

Aura, Carlos FuentesAura is a short novel written by Mexican novelist Carlos Fuentes, first published in 1962 in Mexico. This novel is considered as a fantastic literature for its remarkable description of “dreamlike” themes and the complexion of “double identity” portrayed by the character. Its narrative is completely carried out in second person. نخستین خوانش: روز نخست ماه نوامبر سال 1990 میلادیعنوان: آئورا؛ نویسنده: کارلوس فوئنتس؛ مترجم: عبدالله کوثری؛ تهران، تندر، 1368، در 126 ص؛ چاپ بعدی 1379، در 136 ص؛ شابک: 9646300065؛ چاپ دیگر: تهران، نشر نی، 1386؛ در 96 ص؛ چاپ هشتم 1392؛ شابک: 9789643128746؛ موضوع: داستانهای نویسندگائی مکزیکی - سده 20 مآئورا، نوشته‌ ی مشهور‌ترین نویسنده‌ ی مکزیک: «کارلوس فوئنتس:، است. نثری قوی دارد، و در فضا‌سازی و تصویرپردازی، خیره‌ کننده و اثری کوتاه، اما پربار است. به‌ اندازه‌ ی یک رمان پربرگ، لبریز از ماجراست. از ماجرا پرسیدید؟ زنی پیر، مرد و زنی جوان. در خانه‌ ای که از آن بوی بگذشته ها میآید. نیرویی که خانه را برپای نگاه داشته، همان یادهای بگذشته هاست. پیرزن می‌خواهد: خاطرات شوهرش را، مرد جوان، یا یکی، بازنویسی کند. شوهرش، یک ژنرال بوده، که در فرانسه تحصیل کرده، همراه «ناپلئونِ سوم»، دوران دوم امپراتوری فرانسه را، به چشم خود، دیده است. کار و مکان از نگاه مرد، چنگی به دل نمیزند. آماده است آنجا را ترک کند، که در باز می‌شود، و «آئورا» وارد می‌شود. زنی که حضورش،‌ در یک نگاه،‌ روان مرد را آشفته می‌کند. داستان از همین‌ جا شکل می‌گیرد. مرد به بازخوانی خاطرات ژنرال می‌پردازد. ‌در بگذشته ها غرق می‌شود. زمان حال برایش با آن عادت‌های غریب پیر‌زن، جالب و جذاب نیست. آئورا ست که جذابش میکند ...آئورا دارای دو بخش است: 1«- آئورا»؛ «2- آئورا را چگونه نوشتم». بخش نخست: سفری ست به اساطیر، و افسانه ها، دیدار رویاها و توهمات، و شراکت در کابوس شخصیتهای داستان، به گونه ای که همپای آنها، به کشف آنها و خود نیز، میرسیم. و در بخش دوم: با نویسنده، پای به دنیای واقعی میگذاریم، و شکل گیری هر یک از شخصیتها را، از خلال رخدادهای زندگی «فوئنتس»، به نظاره مینشینیم . ا. شربیانی

In The Unbearable Lightness of Being, Milan Kundera tells the story of a young woman in love with a man torn between his love for her and his incorrigible womanizing and one of his mistresses and her humbly faithful lover. This magnificent novel juxtaposes geographically distant places, brilliant and playful reflections, and a variety of styles, to take its place as perhaps the major achievement of one of the world’s truly great writers.

For Dr. David Beck, the loss was shattering. And every day for the past eight years, he has relived the horror of what happened. The gleaming lake. The pale moonlight. The piercing screams. The night his wife was taken. The last night he saw her alive.Everyone tells him it's time to move on, to forget the past once and for all. But for David Beck, there can be no closure. A message has appeared on his computer, a phrase only he and his dead wife know. Suddenly Beck is taunted with the impossible- that somewhere, somehow, Elizabeth is alive.Beck has been warned to tell no one. And he doesn't. Instead, he runs from the people he trusts the most, plunging headlong into a search for the shadowy figure whose messages hold out a desperate hope.But already Beck is being hunted down. He's headed straight into the heart of a dark and deadly secret- and someone intends to stop him before he gets there.

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.

Ten years after Elisabeth Kübler-Ross’s death: “An inspiring…guide to life, distilled from the experiences of people who face death” (Kirkus Reviews)—the beloved classic now with a new introduction and updated resources section.Is this really how I want to live my life?  Each one of us at some point asks this question. The tragedy is not that life is short but that we often see only in hindsight what really matters.  In this, her first book on life and living, Elisabeth Kubler-Ross joins with David Kessler to guide us through the practical and spiritual lessons we need to learn so that we can live life to its fullest in every moment. Many years of working with the dying have shown the authors that certain lessons come up over and over again. Some of these lessons are enormously difficult to master, but even the attempts to understand them can be deeply rewarding. Here, in fourteen accessible chapters, from the Lesson of Love to the Lesson of Happiness, the authors reveal the truth about our fears, our hopes, our relationships, and, above all, about the grandness of who we really are.

Written in 1914 but not published until 1925, a year after Kafka’s death, The Trial is the terrifying tale of Josef K., a respectable bank officer who is suddenly and inexplicably arrested and must defend himself against a charge about which he can get no information. Whether read as an existential tale, a parable, or a prophecy of the excesses of modern bureaucracy wedded to the madness of totalitarianism, The Trial has resonated with chilling truth for generations of readers.

The original Wilde Thing does it again...Seriously...how does one not love on Oscar Wilde when he's throwing down the snarky...in this case, and in proper British fashion, against cocky, adolescent-cultured Americans and their starched-lip, tradition-trapped English cousins? A bounty of clever from start to finish, Wilde's tale is charming, engaging and pitch-perfect. For a story less than 30 pages long, Wilde accomplishes so much, using scalpel-like precision in both his language and his plotting to tell a story with a little bit of everything. The funny is considerable, the sadness and softer emotions are amply represented, and the brilliance is ubiquitous throughout. My sole complaint is that I wish it were a bit longer, as I would have loved for Wilde to give himself more time with these people and this setting. PLOT SUMMARY:Briefly, since this is a short story…A family of flag-flaunting United Staters acquire an historic English mansion from the thoroughly prim, thoroughly British Lord Canterville. Throw in a murderous, aesthetically-minded ghost with a penchant for high drama and theater, and you have a classic, joy-inducing tale of clashing cultures, progress vs. tradition, and Wilde’s self-mockery of his own philosophy of decadent aestheticism. And….as an added bonus that few beyond Wilde could have accomplished in this setting, you also have subtler themes of a deeper nature running through the narrative, such as penance, forgiveness, and redemption. THOUGHTS:I am a Wilde enthusiast, though my knowledge of his work is limited to this piece and The Picture of Dorian Gray, both of which I have loved. His prose speaks to me and I find his comedic orientation and verbal bitchiness to be hand in glove with my own sense of humor. His timing and delivery make me smile, whether he's commenting on his countrymen as having "really everything in common with America nowadays except, of course, language” to the reciting the casual arrogance of Mr. Otis’s response when Lord Canterville tries to dissuade him from acquiring the haunted estate: \
  I will take the furniture and the ghost at a valuation. I have come from a modern country, where we have everything that money can buy; and with all our spry young fellows painting the Old World red, and carrying off your best actors and prima-donnas, I reckon that if there were such a thing as a ghost in Europe, we'd have it at home in a very short time in one of our public museums, or on the road as a show.\
 Wilde’s humor is like a hammer wrapped in silk-covered down. It floats gracefully into your ear and then sucker punches you with its meaning. Here, Wilde even aims his high powered criticism at himself, as the ghost, Sir Simon, is a thinly veiled reflection of the author. Initially, we see Sir Simon, this artisitc spook with flair and panache, as a victim of the boorish Yankees who have invaded his haunt, and who are totally unmoved by any of his scare tactics. They apply stain remover to the recurring blood stains, oil his chains to avoid excessively rattling, and medicate his evil laugh after mistaking it for coughing. For them, he is simply a problem to solve. It seems our artist can't get a break, and Wilde has us sympathizing with the frustrated spectre. But Wilde slowly starts to show us that the ghost is far from innocent. We learn of his previous murders and his complete amorailty and self-centeredness. Wilde slowly closes the trap and we begin to see the truth behind the ghost's genteel facade. One line, in particular, that struck me was when he casually admitted to killed his wife because she "was very plain, never had my ruffs properly starched, and knew nothing about cookery.” It’s almost a throwaway line, but it really drove home for me the character of Sir Simon.Now don’t go thinking based on the above that this is really a serious tale. The humor is steady throughout and I was pretty much smiling from beginning to end reading Wilde's on target wit. \
  ‘What a monstrous climate!’ said the American Minister, calmly, as he lit a long cheroot. ‘I guess the old country is so overpopulated that they have not enough decent weather for everybody.’\
It’s just that Wilde adds enough little splashes of depth, of emotion, to make the entire story more resonant and, ultimately, more enjoyable.\
  ‘Yes, death. Death must be so beautiful. To lie in the soft brown earth, with the grasses waving above one's head, and listen to silence. To have no yesterday, and no to-morrow. To forget time, to forget life, to be at peace.’\
 You can't ask for better than that. I want to make one final comment about Wilde’s skill as it relates to his creative use of the setting. As you read the description of Canterville Chase, you see a litany of characteristics that paint it as the quintessential gothic mansion. Stone gargoyles, secret passageways, paintings of the previous Canterville residents, and even the stereotypical suit of armor as décor-enhancer. Throw in some dark wood and stained glass windows and you have a haunted house cliché that should be gloomy and positively oozing dread.But is it? Of course not…Wilde simply uses this benckmark so he can quickly and effectively turn it on its head. So…I loved this and I thought how Wilde took what started as a satire on the uncouthness of Americans and the stale traditionalism of the English, and turned it into something uplifting by marrying the best attributes of both was inspired.  I just wish it had been longer and the story had had a little more time to breathe. I can’t wait to read more of his work. 4.5 stars. HIGHEST POSSIBLE RECOMMENDATION.

Published in 1850, Edgar Allan Poe’s The Tell-Tale Heart is one of the best known and most memorable short stories ever written. Since there are dozens of commentaries and reviews here and elsewhere on the internet, in the spirit of freshness, I will take a particular focus: obsession with an eye or eyes and compare Poe’s tale with a few others. In The Painter of Eyes by Jean Richepin, we encounter an obscure artist who sells his soul to the Devil in order to paint at least one masterpiece. There is a bit of writing attached to the corner of his great painting that reads: “The Devil has informed me as to the secret of painting eyes. That secret consists of decanting the life from the models one wishes to represent and fixing that life on the canvas. In doing that, one slowly kills the people whose portrait one paints. It is sufficient for me to know that I have made this masterpiece. I commend my soul to the prayers, in case the Evil One does not leave me the time.” The writing ends abruptly since death strikes the artist in mid-sentence - his masterpiece is a self-portrait.In The Gaze another story by Jean Richepin, the narrator peers through the window of a cell at a madman holding his arms spread, head uplifted, transfixed by a point on a wall near the ceiling. The doctor-alienist relates to the narrator how this inmate is obsessed with the gaze of eyes from an artist's portrait. "For there was something in that gaze, believe me, that could trouble not only the already-enfeebled brain of a man afflicted with general paralysis, but even a sound and solid mind." Turns out, the narrator discovers the doctor is also driven mad by these eyes. So much so, the doctor took a scissors to the painting. We read: “In front of me, a fragment of a painting, cut out of a canvas with scissors, showed me a pair of eyes: the eyes of the portrait that the alienist said that he had lacerated, the eyes darting that famous gaze – in which, indeed, the very soul of gold was alive.”The Enigmatic Eye by Moacyr Scliar is a most imaginative tale of a wealthy old man who becomes infatuated with a portrait of an aristocratic gentleman in the town’s museum. And what makes this portrait so infatuating? Why, of course – the gaze of the right eye, which is truly enigmatic. The old man has his close friend steal the portrait from the museum so he can put it in his attic and sit in front of the painting, pondering the enigmatic gaze round the clock. The servants think the old man mad but he could care less – he has exactly what he wants – the portrait with its enigmatic eye right in his very own attic. Unfortunately, something unexpected happens. Due to the attic’s heat and light, the painting begins to fade and then, over time, vanishes. The old man concludes there is only one thing for him to do – he buys some brushes and oils and begins re-painting the portrait, starting with the enigmatic eye. Turning now to Poe’s tale, the narrator insists he should not be taken for a madman; rather, he is dreadfully nervous causing his senses, especially his sense of hearing, to be heightened and sharpened. He goes on to convey how once the idea of killing the old man of the house entered his brain, he was haunted by the idea day and night. And why would he want to kill this old man, a man who never wronged him? We read, “I think it was his eye! Yes, it was this! He had the eye of a vulture – a pale blue eye, with a film over it.” What is it about a human eye, painted or real, when seen by someone who is mentally unstable? Perhaps part of the answer is given by contemporary Argentine author, Ernesto Sabato, when he says that hell is being the object of the gaze of another. Every one of Poe’s sentence is sheer perfection, building tension and suspense. For example, we read how the narrator, lantern in hand, secretly peers in at the sleeping old man at midnight. But then, one night, a noise wakes the old man and he sits bolt upright in bed. And what does the narrator do? We read, “I resolved to open a little – a very, very little crevice in the lantern. So I opened it – you cannot imagine how stealthily, stealthily – until, at length a single dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye. It was open – wide, wide open – and I grew furious as I gazed upon it. I saw it with perfect distinctness – all a dull blue, with a hideous veil over it that chilled the very marrow of my bones; but I could see nothing else of the old man’s face or person: for I had directed the ray as if by instinct, precisely upon the damned spot.”Anybody familiar with the story knows the narrator’s actions and emotions escalate from this point. What I find particularly fascinating is how the narrator’s obsession and fixation with the eye, once there is no more eye to fixate upon, quickly shifts into a heightened sense of feeling and, of course, heightened hearing. What a tale; what an author – a masterpiece of suspense and horror.*The quotes from the two tales by Jean Richepin are taken from The Crazy Corner a collection of stories translated by Brian Stableford and published by Black Coat Press.

A time-travel story that is both a poignant exploration of human identity and an absorbing tale of suspense.It's natural to feel a little out of place when you're the new girl, but when Charlotte Makepeace wakes up after her first night at boarding school, she's baffled: everyone thinks she's a girl called Clare Mobley, and even more shockingly, it seems she has traveled forty years back in time to 1918. In the months to follow, Charlotte wakes alternately in her own time and in Clare's. And instead of having only one new set of rules to learn, she also has to contend with the unprecedented strangeness of being an entirely new person in an era she knows nothing about. Her teachers think she's slow, the other girls find her odd, and, as she spends more and more time in 1918, Charlotte starts to wonder if she remembers how to be Charlotte at all. If she doesn't figure out some way to get back to the world she knows before the end of the term, she might never have another chance.

"A story has no beginning or end: arbitrarily one chooses a moment of experience from which to look ahead..." "This is a record of hate far more than of love," writes Maurice Bendrix in the opening passages of The End of the Affair, and it is a strange hate indeed that compels him to set down the retrospective account of his adulterous affair with Sarah Miles. Now, a year after Sarah's death, Bendrix seeks to exorcise the persistence of his passion by retracing its course from obsessive love to love-hate. At first, he believes he hates Sarah and her husband, Henry. Yet as he delves deeper into his emotional outlook, Bendrix's hatred shifts to the God he feels has broken his life, but whose existence at last comes to recognize.

حتی نمی‌دونم از کجا باید شروع کنم راجع به این کتاب بنویسم. اول بگم که حتی نمی‌دونم به کدوم ادیشنِ کتاب باید امتیاز بدم. من مخلوطی از پنج ادیشن مختلف را خوندم: ای‌بوکِ ترجمه‌ از روسی به انگلیسی کنستانس گارنت، بعد آدیوبوک همین ترجمه با چاپی متفاوت، بعد چند فصلی آن وسط را از روی ترجمه روسی به فارسی مهری آهی خوندم، بعد از اون نسخه چاپی انگلیسی ترجمه پوی‌یر و والاخانسکی را خواندم، (خواندن این‌ها، حدود نصف بیشتر کتاب، نزدیک دو هفته وقت گرفت) و در نهایت نصفِ دوم کتاب را ظرف دو ساعت و نیم از روی ترجمه‌ی انگلیسی به فارسیِ احد عقیلیان، چاپ نشر مرکز خوندم. می‌دونم کار مسخره‌ای کردم، ولی به هرحال پیش اومد. از میان همه این ها ترجمه احد عقیلیان را خیلی دوست داشتم و سریع خوندم (طبعا چون به زبان مادریم بود)، ولی نثر و نوشتار ترجمه انگلیسی را بیشتر دوست داشتم (با این‌که کند پیش می‌رفت) و از بین اون‌ها هم ترجمه گارنت رو ترجیح دادم. ملموس‌تر بود. حالا برم سراغ خود کتاب. اولاً من اصلا کی باشم که بخوام به داستایفسکی نقد وارد کنم؟ اصلا از این مسئله که به کتاب پنج ندادم و چهار دادم خجالت می‌کشم. ولی چیکار کنم که لذتِ خوندنش برام پنج ستاره‌ی کامل نبود. خیلی سر خوندنش زجر کشیدم و بارها حوصله‌ام سر رفت و بار ها  چند صفحه رو روزنامه‌وار خوندم که به جاهای هیجان‌انگیز تر برسم. مدام منتظر بودم داستان طی یک سیر صعودی هیجان‌انگیز تر بشه؛ ولی نشد، و جذابیتش صرفا طی یک سیر سینوسی بالا پایین می‌رفت. شاید اشکال از منه که توی داستان همش به دنبال «کشش» و جذابیت می‌گردم. واقعا این ایراد بهم وارده. توی گودریدز چرخیدم و چندین و چند تا ریویو از این کتاب خوندم که همه بدون استثنا به نبوغ نویسنده و به شاهکار بودن این کتاب اشاره کردن. و بعد نشستم فکر کردم ببینم چرا من اونقدر حظ اعلا از این کتاب نبردم؟ انقدر من خنگم؟ و بی‌سواد؟ یعنی کتاب رو به طور کلی دوست داشتم، ولی واقعیت اینه که اون‌جوری که همه می‌گن به نظرم نبود! خیلی خوندم که می‌گن کتاب ما رو به اعماق تیره و تاریک ذهن راسکلنیکف می‌بره، ولی من رو که نبرد! درست، به افکارش برد، ولی جوری نبود که من کاملا مجذوب و غرق افکارش بشم. داستان برای من توی فضای بیرون می‌گذشت تا تو سرِ راسکلنیکف. شخصیت‌ها دیالوگ‌های طولانی می‌گفتن و من همش منتظر بودم راسکلنیکف تنها شه و به فکر فرو بره و من توی تار و پود افکارش گیر بیفتم و باز هم این طور نشد. نمی‌دونم. کمی از خودم ناامیدم که نتونستم اونجوری از کتاب لذت ببرم که ظاهرا هزاران نفر برده‌ن. حالا راجع به قسمت هایی که دوست داشتم:  قسمت‌های موش و گربه بازیِ بازرس پارفیری با راسکلنیکف حقیقتاً جزو جذاب‌ترین قسمت‌های داستان بودن. از بودن شخصیت‌های زن قوی و خوبی مثل دونیا و سونیا هم لذت بردم. از کل پروسه‌ی قتل، فرار کردنش از محل، خوابی که دید و صحنه‌ی مراسم ختم مارملادف هم لذت بردم. صرفا به طور کلی می‌تونم بگم اگه از حوصله سر رفتن های در طولِ خوندن بگذریم، از کل کتاب و فضاش و دیلماهاش لذت بردم. *اسپویلر در ادامه* اما بیشترین چیزی که نظرم رو نسبت به کتاب مثبت کرد، پایان بندیِ خوب و امیدوارانه و قشنگش بود. من همش انتظار داشتم راسکلنیکف رو بکشن. وقتی نکشتنش انتظار داشتم تو زندان دیوانه شه یا خودکشی کنه. ولی اون عشق و امیدی که ته داستان داشت، اون اطمینانی که داشت که این هفت سال می‌گذره و زندگیِ جدیدی بعدش شروع می‌شه، این که سونیا رو دوست داره و به امیدش زندگی می‌کنه، این که هنوز یه شانس دوباره، یه فرصتی وجود داره و زندگی به تهش نرسیده، این‌ها خیلی زیبا بود و باعث شد واقعا داستان رو دوست داشته باشم. الان به نظر خودم خیلی ریویوی سطحی ای نوشتم و حس می‌کنم اصلا عمق کتاب رو نفهمیدم. ولی چیکار می‌شه کرد دیگه!

I had watched the movies first and I have to say that I was a little skeptical about this book. The movies were really confusing, gave no explanation for anything, and left me really lost. But that was not the case at all with this book. It has rich and in interesting characters, clever back stories, and iconic one liners. Its slow calm way of talking about the rough and fast paced world of the mafia was refreshing. If you like action, need some clarification on the movies, or want a fresh (old school) take on a classic gang story you should try this book. Also if you have the option you should listen to it as an audio book the reading for it is wonderful. While its clear the Puzo has never actually talked to a woman and has no idea how to write one it comes off as funny and doesn't hurt the plot that much.

Hailed by The New Yorker as "rich in understanding and insight," Kokoro — "the heart of things" — is the work of one of Japan's most popular authors. This thought-provoking trilogy of stories explores the very essence of loneliness and stands as a stirring introduction to modern Japanese literature.

Alternate cover edition here.Growing up in the suburbs of post-war Japan, it seemed to Hajime that everyone but him had brothers and sisters. His sole companion was Shimamoto, also an only child. Together they spent long afternoons listening to her father's record collection. But when his family moved away, the two lost touch. Now Hajime is in his thirties. After a decade of drifting he has found happiness with his loving wife and two daughters, and success running a jazz bar. Then Shimamoto reappears. She is beautiful, intense, enveloped in mystery. Hajime is catapulted into the past, putting at risk all he has in the present.

Moral allegory and spiritual autobiography, The Little Prince is the most translated book in the French language. With a timeless charm it tells the story of a little boy who leaves the safety of his own tiny planet to travel the universe, learning the vagaries of adult behaviour through a series of extraordinary encounters. His personal odyssey culminates in a voyage to Earth and further adventures.

”She opened her eyes and looked into yellow furnace-eyes, smelled sulphur and tannis root, felt wet breath on her mouth, heard lust-grunts and the breathing of onlookers.”Nightmare? Passionate dream? Real? How could it be real? It can’t possibly be real. \
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Rosemary Woodhouse wants a baby. She is married to an actor named Guy. They have recently broken another lease to take an apartment in the exclusive Bramford Building. Guy, who glibly uses his acting skills to spin stories, has no difficulty extracting them from the first lease to take the open apartment in the Bramford. After all, that is what Rosemary wants. Whenever any of us look back on our lives, we can usually point to a specific moment in time when we made one decision that sent us down a pathway that led us, hopefully, only briefly, astray from the pursuit of happiness. None of us, or maybe I should say few of us, can see the future. We have to make our best guess, hopefully based on more logic than a hope of luck. The apartment at the Bramford had more Gothic overtones, detailed woodwork, and certainly a more interesting location than the other apartments the Woodhouses had looked at. Although smaller than some of the other places, having a hip apartment, especially to young pseudo-intellectuals, is much more important than a few extra square feet of space. They should have kept the first lease on the other apartment. I can’t help but think of Bram Stoker every time the Bramford name dances before my eyes on the pages of this book. Strange things have routinely happened in this apartment building. Unexplained, sometimes brutal, deaths have occurred too frequently to be ignored, especially if you are an inquisitive man, such as Rosemary’s dear friend Edward Hutchins. He, on further investigation, finds that there are far more sinister stories surrounding the history of that building than are known by the general public. He discourages Rosemary from continuing to live there, but she is a rational, modern woman who doesn’t believe that a building can have sinister connotations. \
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   Polanski used the Dakota for the outside shots of the Bramwell building.\
She might ignore the past and the warnings that come with it, but she does feel flutters of unease that are based more on what can easily be quantified as primordial superstition than on any real basis of fact. Coincidences do happen and can seem ominous or alarming to someone who is already hearing the tap tap tap of paranoia on the door of reason. Their next door neighbors are Roman and Minnie Castevet, who seem to be a well meaning, overly friendly, almost smothering, older couple. They are delighted to hear the news when Rosemary is pregnant. They suggest a more fashionable obstetrician and even a different regimen of vitamin enriched drinks than what her previous doctor had recommended. Rosemary goes along because Guy is so insistent, but the longer it goes on, the more suspicious she becomes of everyone’s motives. Run, Rosemary, run!I’ve been wanting to read this book for years. I’ve put off watching the famous movie by Roman Polanski because I wanted to read the book first. The story has become such a classic icon that people know the bare bones of the story without ever having read the book or seen the movie. The pacing of the book is simply a superb example of a writer who knows how to build tension and unease. By the time Rosemary is approaching the bassinet to see her baby for the first time, I was biting my knuckles, and the hackles on the back of my neck were not only raised but vibrating. I know what she is going to see, but until I read the words, I can hold off fully realizing the implications. \
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I loved the fact that Rosemary is a reader. Two books that were mentioned that stand out were Flight of the Falcon by Daphne Du Maurier and The Rise and Fall of the Roman Empire by Edward Gibbon. I love it when books are part of the lives of the characters I read about. I’m a huge fan of Du Maurier and plan to read Rosemary’s choice soon. I was even more impressed by her taking on Gibbon. I have six volumes of Gibbon staring me in the face every time I pick my next book to read. Yes, yes, I will read Gibbon. I must read Gibbon to call myself a reasonably educated man. Rosemary’s Baby was published in 1967, the year of my birth, and has held up superbly, certainly much better than I have. It is a quick, flashy read that will give chills and thrills to all but the most jaded modern reader. If you wish to see more of my most recent book and movie reviews, visit http://www.jeffreykeeten.comI also have a Facebook blogger page at:https://www.facebook.com/JeffreyKeeten

An alternative cover edition for this ISBN can be found here.Rachel catches the same commuter train every morning. She knows it will wait at the same signal each time, overlooking a row of back gardens. She’s even started to feel like she knows the people who live in one of the houses. “Jess and Jason,” she calls them. Their life—as she sees it—is perfect. If only Rachel could be that happy. And then she sees something shocking. It’s only a minute until the train moves on, but it’s enough. Now everything’s changed. Now Rachel has a chance to become a part of the lives she’s only watched from afar. Now they’ll see; she’s much more than just the girl on the train...

Toru, a quiet and preternaturally serious young college student in Tokyo, is devoted to Naoko, a beautiful and introspective young woman, but their mutual passion is marked by the tragic death of their best friend years before. Toru begins to adapt to campus life and the loneliness and isolation he faces there, but Naoko finds the pressures and responsibilities of life unbearable. As she retreats further into her own world, Toru finds himself reaching out to others and drawn to a fiercely independent and sexually liberated young woman.A magnificent blending of the music, the mood, and the ethos that was the sixties with the story of one college student's romantic coming of age, Norwegian Wood brilliantly recaptures a young man's first, hopeless, and heroic love.

Emil Sinclair is a young boy raised in a bourgeois home, amidst what is described as a Scheinwelt, a play on words that means "world of light" as well as "world of illusion". Emil's entire existence can be summarized as a struggle between two worlds: the show world of illusion (related to the Hindu concept of maya) and the real world, the world of spiritual truth. In the course of the novel, accompanied and prompted by his mysterious classmate 'Max Demian', he detaches from and revolts against the superficial ideals of the world of appearances and eventually awakens into a realization of self.

Alternate cover edition of ISBN 0553213695 / 9780553213690"As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect. He was laying on his hard, as it were armor-plated, back and when he lifted his head a little he could see his domelike brown belly divided into stiff arched segments on top of which the bed quilt could hardly keep in position and was about to slide off completely. His numerous legs, which were pitifully thin compared to the rest of his bulk, waved helplessly before his eyes." With it's startling, bizarre, yet surprisingly funny first opening, Kafka begins his masterpiece, The Metamorphosis. It is the story of a young man who, transformed overnight into a giant beetle-like insect, becomes an object of disgrace to his family, an outsider in his own home, a quintessentially alienated man. A harrowing—though absurdly comic—meditation on human feelings of inadequacy, guilt, and isolation, The Metamorphosis has taken its place as one of the most widely read and influential works of twentieth-century fiction. As W.H. Auden wrote, "Kafka is important to us because his predicament is the predicament of modern man."

Precocious Oliver struggles with being popular in school but when a dark-haired beauty takes interest in him, he's determined to become the best boyfriend in the world. Meanwhile, his parents' already rocky relationship is threatened when his mother's ex-boyfriend moves in next door. Oliver makes some unorthodox plans to ensure that his parents stay together and that Jordana still likes him.

Véronique is a beautiful young French woman who aspires to be a renowned singer. Weronika lives in Poland, has a similar career goal, and looks identical to Véronique, though the two are not related. Both women contend with the ups and downs of their individual lives, with Véronique embarking on an unusual romance with a puppeteer who may be able to help her with her existential issues. Véronique and Weronika are unaware of each other's existence, yet they sense a spectral companion and an inexplicable, profound bond.

John Murdoch awakens alone in a strange hotel to find that he has lost his memory and is wanted for a series of brutal and bizarre murders. While trying to piece together his past, he stumbles upon a fiendish underworld controlled by a group of beings known as The Strangers who possess the ability to put people to sleep and alter the city and its inhabitants. Now Murdoch must find a way to stop them before they take control of his mind and destroy him.

Harry Angel has a new case: to find a man called Johnny Favorite. Except things aren't quite that simple, and Johnny doesn't want to be found. Let's just say that, amongst the period detail and beautiful scenery, it all gets really, really nasty.

F.B.I. trainee Clarice Starling (Jodie Foster) works hard to advance her career, while trying to hide or put behind her West Virginia roots, of which if some knew, would automatically classify her as being backward or white trash. After graduation, she aspires to work in the agency's Behavioral Science Unit under the leadership of Jack Crawford (Scott Glenn). While she is still a trainee, Crawford asks her to question Dr. Hannibal Lecter (Sir Anthony Hopkins), a psychiatrist imprisoned, thus far, for eight years in maximum security isolation for being a serial killer who cannibalized his victims. Clarice is able to figure out the assignment is to pick Lecter's brains to help them solve another serial murder case, that of someone coined by the media as "Buffalo Bill" (Ted Levine), who has so far killed five victims, all located in the eastern U.S., all young women, who are slightly overweight (especially around the hips), all who were drowned in natural bodies of water, and all who were stripped of large swaths of skin. She also figures that Crawford chose her, as a woman, to be able to trigger some emotional response from Lecter. After speaking to Lecter for the first time, she realizes that everything with him will be a psychological game, with her often having to read between the very cryptic lines he provides. She has to decide how much she will play along, as his request in return for talking to him is to expose herself emotionally to him. The case takes a more dire turn when a sixth victim is discovered, this one from who they are able to retrieve a key piece of evidence, if Lecter is being forthright as to its meaning. A potential seventh victim is high profile Catherine Martin (Brooke Smith), the daughter of Senator Ruth Martin (Diane Baker), which places greater scrutiny on the case as they search for a hopefully still alive Catherine. Who may factor into what happens is Dr. Frederick Chilton (Anthony Heald), the warden at the prison, an opportunist who sees the higher profile with Catherine, meaning a higher profile for himself if he can insert himself successfully into the proceedings.

Abducted on a rainy night in 1988, the obnoxious drunk, Oh Dae-Su, much to his surprise, wakes up locked in a windowless and dilapidated hotel room, for an unknown reason. There, his invisible and pitiless captors will feed him, clothe him, and sedate him to avert a desperate suicide--and as his only companion and a window to the world is the TV in his stark cell--the only thing that helps Oh Dae-Su keep going is his daily journal. Then, unexpectedly, after fifteen long years in captivity, the perplexed prisoner is deliberately released, encouraged to track down his tormentor to finally get his retribution. However, who would hate Oh Dae-Su so much he would deny him of a quick and clean death?

300 years have passed since the Sanderson sisters were executed for practicing dark witchcraft. Returning to life thanks to a combination of a spell spoken before their demise and the accidental actions of Max, the new-kid-in-town, the sisters have but one night to secure their continuing existence...

Chihiro and her parents are moving to a small Japanese town in the countryside, much to Chihiro's dismay. On the way to their new home, Chihiro's father makes a wrong turn and drives down a lonely one-lane road which dead-ends in front of a tunnel. Her parents decide to stop the car and explore the area. They go through the tunnel and find an abandoned amusement park on the other side, with its own little town. When her parents see a restaurant with great-smelling food but no staff, they decide to eat and pay later. However, Chihiro refuses to eat and decides to explore the theme park a bit more. She meets a boy named Haku who tells her that Chihiro and her parents are in danger, and they must leave immediately. She runs to the restaurant and finds that her parents have turned into pigs. In addition, the theme park turns out to be a town inhabited by demons, spirits, and evil gods. At the center of the town is a bathhouse where these creatures go to relax. The owner of the bathhouse is the evil witch Yubaba, who is intent on keeping all trespassers as captive workers, including Chihiro. Chihiro must rely on Haku to save her parents in hopes of returning to their world.

2001 Japanese animated film directed by Hayao Miyazaki

Amélie is a story about a girl named Amélie whose childhood was suppressed by her Father's mistaken concerns of a heart defect. With these concerns Amélie gets hardly any real-life contact with other people. This leads Amélie to resort to her own fantastical world and dreams of love and beauty. She later on becomes a young woman and moves to the central part of Paris as a waitress. After finding a lost treasure belonging to the former occupant of her apartment, she decides to return it to him. After seeing his reaction and his new found perspective - she decides to devote her life to the people around her. Such as, her father who is obsessed with his garden-gnome, a failed writer, a hypochondriac, a man who stalks his ex girlfriends, the "ghost," a suppressed young soul, the love of her life and a man whose bones are as brittle as glass. But after consuming herself with these escapades - she finds out that she is disregarding her own life and damaging her quest for love. Amélie then discovers she must become more aggressive and take a hold of her life and capture the beauty of love she has always dreamed of.

Tae-suk (Hee Jae) is a lonely drifter who spends his nights in one empty vacation home after another. However, Tae-suk is not your usual squatter, as the courteous young man always makes sure to show his absent -- and unknowing -- hosts his gratitude by doing small household tasks or making simple improvements before moving on. One day, Tae-suk mistakes a quiet home for an empty one and stumbles across an abused housewife (Seung-yeon Lee) in urgent need of his intervention.

2004 South Korean film directed by Kim Ki-duk

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.

Over the course of a single night in pale Memphis--the home of

Deliveryman Jongsu is out on a job when he runs into Haemi, a girl who once lived in his neighbourhood. She asks if he'd mind looking after her cat while she's away on a trip to Africa. On her return, she introduces to Jongsu an enigmatic young man named Ben, who she met during her trip. One day Ben tells Jongsu about his most unusual hobby.

In the early 1990s, Jordan Belfort teamed with his partner Donny Azoff and started brokerage firm Stratton Oakmont. Their company quickly grows from a staff of 20 to a staff of more than 250 and their status in the trading community and Wall Street grows exponentially. So much that companies file their initial public offerings through them. As their status grows, so do the amount of substances they abuse, and so do their lies. They draw attention like no other, throwing lavish parties for their staff when they hit the jackpot on high trades. That ultimately leads to Belfort featured on the cover of Forbes Magazine, being called "The Wolf Of Wall St.". With the FBI onto Belfort's trading schemes, he devises new ways to cover his tracks and watch his fortune grow. Belfort ultimately comes up with a scheme to stash their cash in a European bank. But with the FBI watching him like a hawk, how long will Belfort and Azoff be able to maintain their elaborate wealth and luxurious lifestyles?

A mother lives quietly with her twenty-eight-year-old son, Do-joon, providing herbs and acupuncture to neighbors. One day, a girl is brutally murdered, and Do-joon is charged with the killing. Now, it's his mother's call whether to prove him innocent or to leave him imprisoned.

Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible, inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea, but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.

Much to his surprise, timid Joel Barish is shocked to discover that the love of his life, sparky Clementine, has had him erased from her memory. To pay her back in the same coin, poor Joel summons up the courage to undergo a painless but intricate medical procedure to do the same, utterly unaware that darkness is an essential part of the light. Now, as hurt and angry Joel's ugly recollections of Clementine gradually fade away, giving way to a soulless black void, suddenly, he begins having second thoughts, toying with the idea of stopping the irreversible process. In the end, is ignorance really bliss?

Murat G

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It is the height of the war in Vietnam, and U.S. Army Captain Willard is sent by Colonel Lucas and a General to carry out a mission that, officially, 'does not exist - nor will it ever exist'. The mission: To seek out a mysterious Green Beret Colonel, Walter Kurtz, whose army has crossed the border into Cambodia and is conducting hit-and-run missions against the Viet Cong and NVA. The army believes Kurtz has gone completely insane and Willard's job is to eliminate him. Willard, sent up the Nung River on a U.S. Navy patrol boat, discovers that his target is one of the most decorated officers in the U.S. Army. His crew meets up with surfer-type Lt-Colonel Kilgore, head of a U.S Army helicopter cavalry group which eliminates a Viet Cong outpost to provide an entry point into the Nung River. After some hair-raising encounters, in which some of his crew are killed, Willard, Lance and Chef reach Colonel Kurtz's outpost, beyond the Do Lung Bridge. Now, after becoming prisoners of Kurtz, will Willard & the others be able to fulfill their mission?

1979 American war film directed by Francis Ford Coppola

A wild, freeform, Rabelaisian trip through the darkest recesses of Edinburgh low-life, focusing on Mark Renton and his attempt to give up his heroin habit, and how the latter affects his relationship with family and friends: Sean Connery wannabe Sick Boy, dimbulb Spud, psycho Begbie, 14-year-old girlfriend Diane, and clean-cut athlete Tommy, who's never touched drugs but can't help being curious about them...

Because of his eccentric habits and bafflingly strange films, director

The big-screen version of Hunter S. Thompson's seminal psychedelic classic about his road trip across Western America as he and his large Samoan lawyer searched desperately for the "American dream"... they were helped in large part by the huge amount of drugs and alcohol kept in their convertible, The Red Shark.

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Kanji Watanabe is a civil servant. He has worked in the same department for 30 years. His life is pretty boring and monotonous, though he once used to have passion and drive. Then one day he discovers that he has stomach cancer and has less than a year to live. After the initial depression he sets about living for the first time in over 20 years. Then he realises that his limited time left is not just for living life to the full but to leave something meaningful behind...

A young couple's enduring love is tested when 27-year-old Su-jin is diagnosed with a rare form of Alzheimer's disease.

2004 South Korean film directed by Lee Jae-han

Mobsters are smuggling guns into Hong Kong. The police orchestrate a raid at a teahouse where an ace detective loses his partner. Meanwhile, the two main gun smugglers are having a war over territory, and a young new gun is enlisted to wipe out informants and overcome barriers to growth. The detective, acting from inside sources, gets closer to the ring leaders and eventually must work with the inside man directly.

After spending time in a mental institution, two devoted sisters return to the home of their father and cruel stepmother. Once there, in addition to dealing with their stepmother's obsessive, unbalanced ways, an interfering ghost also affects their recovery.

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An eccentric scientist changes the world with his teleportation technology: when his experiment seems to be going well, Dr. Seth Brundle tests his machine on himself and he gets fused with the worst kind of pest on Planet Earth; The Fly. What is the price of a man playing God? Only Seth knows.

A US research station, Antarctica, early-winter 1982. The base is suddenly buzzed by a helicopter from the nearby Norwegian research station. They are trying to kill a dog that has escaped from their base. After the destruction of the Norwegian chopper the members of the US team fly to the Norwegian base, only to discover them all dead or missing. They do find the remains of a strange creature the Norwegians burned. The Americans take it to their base and deduce that it is an alien life form. After a while it is apparent that the alien can take over and assimilate into other life forms, including humans, and can spread like a virus. This means that anyone at the base could be inhabited by The Thing, and tensions escalate.

Nada, a down-on-his-luck construction worker, discovers a pair of special sunglasses. Wearing them, he is able to see the world as it really is: people being bombarded by media and government with messages like "Stay Asleep", "No Imagination", "Submit to Authority". Even scarier is that he is able to see that some usually normal-looking people are in fact ugly aliens in charge of the massive campaign to keep humans subdued.

57 years after Ellen Ripley had a close encounter with the reptilian alien creature from the first movie, she is called back, this time, to help a group of highly trained colonial marines fight off against the sinister extraterrestrials. But this time, the aliens have taken over a space colony on the moon LV-426. When the colonial marines are called upon to search the deserted space colony, they later find out that they are up against more than what they bargained for. Using specially modified machine guns and enough firepower, it's either fight or die as the space marines battle against the aliens. As the Marines do their best to defend themselves, Ripley must attempt to protect a young girl who is the sole survivor of the nearly wiped out space colony.

1986 science fiction action film by James Cameron

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Harry Caul is a devout Catholic and a lover of jazz music who plays his saxophone while listening to his jazz records. He is a San Francisco-based electronic surveillance expert who owns and operates his own small surveillance business. He is renowned within the profession as being the best, one who designs and constructs his own surveillance equipment. He is an intensely private and solitary man in both his personal and professional life, which especially irks Stan, his business associate who often feels shut out of what is happening with their work. This privacy, which includes not letting anyone into his apartment and always telephoning his clients from pay phones is, in part, intended to control what happens around him. His and Stan's latest job (a difficult one) is to record the private discussion of a young couple meeting in crowded and noisy Union Square. The arrangement with his client, known only to him as "the director", is to provide the audio recording of the discussion and photographs of the couple directly to him alone in return for payment. Based on circumstances with the director's assistant, Martin Stett, and what Harry ultimately hears on the recording, Harry believes that the lives of the young couple are in jeopardy. Harry used to be detached from what he recorded, but is now concerned ever since the deaths of three people that were the direct result of a previous audio recording he made for another job. Harry not only has to decide if he will turn the recording over to the director, but also if he will try and save the couple's lives using information from the recording. As Harry goes on a quest to find out what exactly is happening on this case, he finds himself in the middle of his worst nightmare.

It's the late 1950s. Mid-twenty-something Kit is a restless and unfocused young man with a

1973 American crime film directed by Terrence Malick

Forty-two year old Isaac Davis has a romanticized view of his hometown, New York City, most specifically Manhattan, as channeled through the lead character in the first book he is writing, despite his own Manhattan-based life being more of a tragicomedy. He has just quit his job as a hack writer for a bad television comedy, he, beyond the ten second rush of endorphins during the actual act of quitting, now regretting the decision, especially as he isn't sure he can live off his book writing career. He is paying two alimonies, his second ex-wife, Jill Davis, a lesbian, who is writing her own tell-all book of their acrimonious split. The one somewhat positive aspect of his life is that he is dating a young woman named Tracy, although she is only seventeen and still in high school. Largely because of their differences a big part of which is due to their ages, he does not see a long term future with her. His life has the potential to be even more tragicomical when he meets journalist Mary Wilkie, the mistress of his best friend, college professor Yale Pollack. Although Isaac's first impression of Mary is that she is a pretentious intellectual, he falls for her. They do become friends with the potential of becoming more than just friends as she knows that being the "other woman" in Yale's life is not a long term role that she wants. An Isaac/Mary coupling may complicate matters even more with Yale being mutually in their lives. Regardless, Isaac may be able to rationalize events after they happen, no matter what those events are.

Suzy Bannion travels to Germany to perfect her ballet skills. She arrives at the Tanz dance academy in the pouring rain and is refused admission after another woman is seen fleeing the school. She returns the next morning and this time is let in. She learns that the young woman she saw fleeing the previous evening, Pat Hingle, has been found dead. Strange things soon begin to occur. Suzy becomes ill and is put on a special diet; the school becomes infested with maggots; odd sounds abound; and Daniel, the pianist, is killed by his own dog. A bit of research indicates that the ballet school was once a witches' coven - and as Suzy learns, still is.

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"I walk around the school hallways and look at the people. I look at the teachers and wonder why they're here. Not in a mean way. In a curious way. It's like looking at all the students and wondering who's had their heart broken that day...or wondering who did the heart breaking and wondering why."Charlie is a freshman. And while he's not the biggest geek in the school, he is by no means popular. Shy, introspective, intelligent beyond his years yet socially awkward, he is a wallflower, caught between trying to live his life and trying to run from it. Charlie is attempting to navigate his way through uncharted territory: the world of first dates and mixed tapes, family dramas and new friends; the world of sex, drugs, and The Rocky Horror Picture Show, when all one requires is that perfect song on that perfect drive to feel infinite. But Charlie can't stay on the sideline forever. Standing on the fringes of life offers a unique perspective. But there comes a time to see what it looks like from the dance floor.The Perks of Being a Wallflower is a deeply affecting coming-of-age story that will spirit you back to those wild and poignant roller-coaster days known as growing up.

Mary Shelley began writing Frankenstein when she was only eighteen. At once a Gothic thriller, a passionate romance, and a cautionary tale about the dangers of science, Frankenstein tells the story of committed science student Victor Frankenstein. Obsessed with discovering the cause of generation and life and bestowing animation upon lifeless matter, Frankenstein assembles a human being from stolen body parts but; upon bringing it to life, he recoils in horror at the creature's hideousness. Tormented by isolation and loneliness, the once-innocent creature turns to evil and unleashes a campaign of murderous revenge against his creator, Frankenstein.Frankenstein, an instant bestseller and an important ancestor of both the horror and science fiction genres, not only tells a terrifying story, but also raises profound, disturbing questions about the very nature of life and the place of humankind within the cosmos: What does it mean to be human? What responsibilities do we have to each other? How far can we go in tampering with Nature? In our age, filled with news of organ donation genetic engineering, and bio-terrorism, these questions are more relevant than ever.

At the dawn of the next world war, a plane crashes on an uncharted island, stranding a group of schoolboys. At first, with no adult supervision, their freedom is something to celebrate; this far from civilization the boys can do anything they want. Anything. They attempt to forge their own society, failing, however, in the face of terror, sin and evil. And as order collapses, as strange howls echo in the night, as terror begins its reign, the hope of adventure seems as far from reality as the hope of being rescued. Labeled a parable, an allegory, a myth, a morality tale, a parody, a political treatise, even a vision of the apocalypse, Lord of the Flies is perhaps our most memorable novel about “the end of innocence, the darkness of man’s heart.”

"Speak up for yourself--we want to know what you have to say." From the first moment of her freshman year at Merryweather High, Melinda knows this is a big fat lie, part of the nonsense of high school. She is friendless, outcast, because she busted an end-of-summer party by calling the cops, so now nobody will talk to her, let alone listen to her. As time passes, she becomes increasingly isolated and practically stops talking altogether. Only her art class offers any solace, and it is through her work on an art project that she is finally able to face what really happened at that terrible party: she was raped by an upperclassman, a guy who still attends Merryweather and is still a threat to her. Her healing process has just begun when she has another violent encounter with him. But this time Melinda fights back, refuses to be silent, and thereby achieves a measure of vindication. In Laurie Halse Anderson's powerful novel, an utterly believable heroine with a bitterly ironic voice delivers a blow to the hypocritical world of high school. She speaks for many a disenfranchised teenager while demonstrating the importance of speaking up for oneself.

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