Elena Rainn

KRKY Y

Kyrsten Iris

Coen Van loo

_ eshago@uw.edu

Watashi Wa Jigabudesu

Roman Bryzhatiy

Karl Halmos-Westram

Timothy Galvin

Ljsly Bernard

Ruby Brown

Dimitri Nuri

Humbert Humbert - scholar, aesthete and romantic - has fallen completely and utterly in love with Lolita Haze, his landlady's gum-snapping, silky skinned twelve-year-old daughter. Reluctantly agreeing to marry Mrs Haze just to be close to Lolita, Humbert suffers greatly in the pursuit of romance; but when Lo herself starts looking for attention elsewhere, he will carry her off on a desperate cross-country misadventure, all in the name of Love. Hilarious, flamboyant, heart-breaking and full of ingenious word play, Lolita is an immaculate, unforgettable masterpiece of obsession, delusion and lust.

George Orwell's timeless and timely allegorical novel—a scathing satire on a downtrodden society’s blind march towards totalitarianism.“All animals are equal, but some animals are more equal than others.”A farm is taken over by its overworked, mistreated animals. With flaming idealism and stirring slogans, they set out to create a paradise of progress, justice, and equality. Thus the stage is set for one of the most telling satiric fables ever penned—a razor-edged fairy tale for grown-ups that records the evolution from revolution against tyranny to a totalitarianism just as terrible.  When Animal Farm was first published, Stalinist Russia was seen as its target. Today it is devastatingly clear that wherever and whenever freedom is attacked, under whatever banner, the cutting clarity and savage comedy of George Orwell’s masterpiece have a meaning and message still ferociously fresh.

The story of a mentally disabled man whose experimental quest for intelligence mirrors that of Algernon, an extraordinary lab mouse. In diary entries, Charlie tells how a brain operation increases his IQ and changes his life. As the experimental procedure takes effect, Charlie's intelligence expands until it surpasses that of the doctors who engineered his metamorphosis. The experiment seems to be a scientific breakthrough of paramount importance--until Algernon begins his sudden, unexpected deterioration. Will the same happen to Charlie?

The Pulitzer Prize-winning epic of the Great Depression, a book that galvanized—and sometimes outraged—millions of readers.First published in 1939, Steinbeck’s Pulitzer Prize-winning epic of the Great Depression chronicles the Dust Bowl migration of the 1930s and tells the story of one Oklahoma farm family, the Joads—driven from their homestead and forced to travel west to the promised land of California. Out of their trials and their repeated collisions against the hard realities of an America divided into Haves and Have-Nots evolves a drama that is intensely human yet majestic in its scale and moral vision, elemental yet plainspoken, tragic but ultimately stirring in its human dignity. A portrait of the conflict between the powerful and the powerless, of one man’s fierce reaction to injustice, and of one woman’s stoical strength, the novel captures the horrors of the Great Depression and probes into the very nature of equality and justice in America. At once a naturalistic epic, captivity narrative, road novel, and transcendental gospel, Steinbeck’s powerful landmark novel is perhaps the most American of American Classics.

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."

For all of those who keep insisting that Stephen King is a literary equivalent of Big Mac and fries, writing in the comfortable confines of the frequently-despised 'genre' - please take a look at The Body: The Fall from Innocence, which is much more familiar to public in the quite faithful adaptation by Rob Reiner - 'Stand by Me'. It's not King's trademark horror; it is actually free of the constraints of any so-called 'genre'. It is a coming-of-age character-study novella set in 1960 Maine where monsters are not hiding behind bushes but instead live in the hearts of people - the setting and themes at which King excels.************This is a story of four boys on the brink of adolescence; \
  the last moments of childhood told with occasional almost Bradbury-esque nostalgia but with the rose-tinted glasses mercilessly torn off.\
 The blue-collar childhood in a small Maine town in 1960 is not a place of magic and wonder - these boys are no strangers to abandonment and abuse and prejudice. Hot-tempered and volatile Teddy Duchamp has been physically mutilated by his mentally ill father whom he still worships. Childish and not-too-bright Vern Tessio lives in fear of his brother. Gordie Lachance, whose adult writer self is telling us this story, is little but a stranger to his parents who never got over the death of his older brother. Smart and tough Chris Chambers, a kid from a family that supplies Castle Rock with alcoholics and juvenile delinquents, is being seriously abused by his father and is seen as a worthless and even dangerous person because of his family."Chris didn't talk much about his dad, but we all knew he hated him like poison. Chris was marked up every two weeks or so, bruises on his cheeks and neck or one eye swelled up and as colorful as a sunset, and once he came to school with a big clumsy bandage on the back of his head. Other times he never got to school at all. His mom would call him in sick because he was too lamed up to come in. Chris was smart, really smart, but he played truant a lot, and Mr. Halliburton, the town truant officer, was always showing up at Chris's house, driving his old black Chevrolet with the NO RIDERS sticker in the corner of the windshield. If Chris was being truant and Bertie (as we called him - always behind his back, of course) caught him, he would haul him back to school and see that Chris got detention for a week. But if Bertie found out that Chris was home because his father had beaten the shit out of him, Bertie just went away and didn't say boo to a cuckoo bird. It never occurred to me to question this set of priorities until about twenty years later."But childhood, even though not at all sheltered, still gives them something of a shield against the world - that sense of invulnerability that only the young children have, the love for adventure, and the protection of sincere and lighthearted friendship."Everything was there and around us. We knew exactly who we were and exactly where we were going. It was grand." **********But we meet them right at the time when they are about to leave the protection of childhood behind them, when in the miserably hot summer of 1960 they set out on a trip to find a body of a boy who disappeared in the woods - a trip that makes at least two of them go through quite significant emotional turmoil and reevaluate their priorities and see the strengthening of one friendship while the others fall apart as the realization sets in that there is more to friendship than just fun and leisure. This is a trip that uncovers both the steel and the vulnerability in the characters of Chris and Gordie, and shoves them from the haven of childhood into the world where things take work and sacrifice and pain, the world that is often cruel and cynical and unavoidable."But he said: "Your friends drag you down, Gordie. Don't you know that? [...] Your friends do. They're like drowning guys that are holding onto your legs. You can't save them. You can only drown with them."****This is a scary realization when you are young - that your friends are not good for you. I remember getting that feeling at around twelve, the age the boys in this book are, and I remember how unsettling that realization was. At that time it feels like friendships are forever, and that things that connect you to other people are there to stay - and realizing how easy and even necessary it can be to break those bonds is quite unsettling. "You always know the truth, because when you cut yourself or someone else with it, there's always a bloody show."******And some of this is present here - but on the other hand we are also treated to the strengthening of the true friendship between Gordie and Chris. Gordie, a kid who is emotionally neglected by his family, acutely feels the sincerity and kindness that Chris brings into the world, despite his 'tough' origins - Chris, the center of this ragtag group, is grown up beyond his years, and has some hard-earned wisdom for his twelve years of age, sprinkled with a bit of pain and bitterness but grounded in common sense."But it was only survival. We were clinging to each other in deep water. I've explained about Chris, I think; my reasons for clinging to him were less definable. His desire to get away from Castle Rock and out of the mill's shadow seemed to me to be my best part, and I could not just leave him to sink or swim on his own. If he had drowned, that part of me would have drowned with him, I think."**********I love the narrative voice of this story - the narration by a young but accomplished writer Gordon Lachance, bringing the perspective that the few decades that have passed since that summer of 1960 have given him - but yet conveying the feelings and the attitudes of a twelve-year-old boy who feels both resentment and love and experiences profound beauty and the low of human ugliness. There are lyrical parts and trademark-King unflinching gory parts, and social commentary without the slightest sugar-coating. The story is peppered in places with the stories written by older Gordon and full of reflections of the adult man reflecting on the important and defining experience of the end of his childhood. "The most important things are hardest to say, because words diminish them." It is a fascinating, engrossing read, the one that is well worth several hours of your time, even if you have never been a fan of King. 5 stars and highly recommend!

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.

The Metamorphosis and Other Stories, by Franz Kafka, is part of the Barnes &amp; Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes &amp; Noble Classics:All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes &amp; Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works.Virtually unknown during his lifetime, Franz Kafka is now one of the world’s most widely read and discussed authors. His nightmarish novels and short stories have come to symbolize modern man’s anxiety and alienation in a bizarre, hostile, and dehumanized world. This vision is most fully realized in Kafka’s masterpiece, “The Metamorphosis,” a story that is both harrowing and amusing, and a landmark of modern literature. Bringing together some of Kafka’s finest work, this collection demonstrates the richness and variety of the author’s artistry. “The Judgment,” which Kafka considered to be his decisive breakthrough, and “The Stoker,” which became the first chapter of his novel Amerika, are here included. These two, along with “The Metamorphosis,” form a suite of stories Kafka referred to as “The Sons,” and they collectively present a devastating portrait of the modern family.Also included are “In the Penal Colony,” a story of a torture machine and its operators and victims, and “A Hunger Artist,” about the absurdity of an artist trying to communicate with a misunderstanding public. Kafka’s lucid, succinct writing chronicles the labyrinthine complexities, the futility-laden horror, and the stifling oppressiveness that permeate his vision of modern life.Jason Baker is a writer of short stories living in Brooklyn, New York.

April, 1984. Winston Smith, thinks a thought, starts a diary, and falls in love. But Big Brother is watching him, and the door to Room 101 can swing open in the blink of an eye. Its ideas have become our ideas, and Orwell’s fiction is often said to be our reality. The definitive book of the 20th century is re-examined in a radical new adaptation exploring why Orwell’s vision of the future is as relevant as ever."This is a staging that reconsiders a classic with such steely power that it chills brain, blood and bone." - The Times"[A] pitilessly brilliant retelling." - Guardian"This risk-taking adaptation of George Orwell's masterpiece is doubleplusgood." - Telegraph"A theatrical tour de force that has the destructive power of an earthquake." - The Stage"Skilfully brought to life.... This is a very neat theatrical telling of the classic dystopian parable which is more a study of internal tension and tiny acts of defiance as it is a political drama... a work of extraordinary quality and intensity." - IndependentEric Arthur Blair (25 June 1903 – 21 January 1950), better known by his pen name George Orwell, was an English novelist and journalist, whose most famous works include the novella Animal Farm, and the classic dystopia 1984.Duncan Macmillan is an award-winning writer and director. Plays include: Lungs (Paines Plough/Sheffield Crucible and Studio Theatre Washington D.C.), Platform (Old Vic Tunnels), Monster (Royal Exchange/Manchester International Festival), The Most Humane Way to Kill A Lobster (Theatre 503), I Wish To Apologise For My Part In The Apocalypse, So Say All of Us and Family Tree (all BBC Radio 4).Robert Icke was artistic director of the Arden Theatre Company in Stockton-on-Tees from 2003–7 and of the Swan Theatre Company in Cambridge from 2005–8, where he was awarded the Susie Gautier-Smith Prize for his contribution to theatre.

A deliciously funny, delectably shocking banquet of wild-but-true tales of life in the culinary trade from Chef Anthony Bourdain, laying out his more than a quarter-century of drugs, sex, and haute cuisine—now with all-new, never-before-published material.New York Chef Tony Bourdain gives away secrets of the trade in his wickedly funny, inspiring memoir/expose. Kitchen Confidential reveals what Bourdain calls "twenty-five years of sex, drugs, bad behavior and haute cuisine."

Fresh from Des Moines, Iowa, Sara Matthews has just landed in Los Angeles as a college freshman studying fashion design. She meets handsome Stephen, party-lover Tracy, and roommate Rebecca. Rebecca is nice, sweet and ready to share everything with Sara. It could be the beginning of a beautiful friendship. But Tracy is convinced that there's something seriously wrong with Rebecca and bad things start happening to everyone close to Sara. If Sara is to have a normal college experience, she's going to have to get to the bottom of what's up with Rebecca and quickly get out of her clutches.

The 1950s. Manhattan lavatory attendant, Tom Ripley, borrows a Princeton jacket to play piano at a garden party. When the wealthy father of a recent Princeton grad chats Tom up, Tom pretends to know the son and is soon offered $1,000 to go to Italy to convince Dickie Greenleaf to return home. In Italy, Tom attaches himself to Dickie and to Marge, Dickie's cultured fiancée, pretending to love jazz and harboring homoerotic hopes as he soaks in luxury. Besides lying, Tom's talents include impressions and forgery, so when the handsome and confident Dickie tires of Tom, dismissing him as a bore, Tom goes to extreme lengths to make Greenleaf's privileges his own.

Sixteen-year old Junie changes high school mid-year, following the death of her mother. She finds herself in the same class as her cousin Mathias, who introduces her to his friends. All the boys want to date Junie, and she chooses the quietest among them, Otto Cleves. But soon after, she encounters the great love of her life, Nemours, her Italian teacher. The passion that burns between them is, however, doomed. Junie refuses to give in to her feelings and persists in denying herself happiness, which in her eyes is merely illusory.

A woman who has an elaborate scheme to propose to her boyfriend on Leap Day, an Irish tradition which occurs every time the date February 29 rolls around, faces a major setback when bad weather threatens to derail her planned trip to Dublin. With the help of an innkeeper, however, her cross-country odyssey just might result in her getting engaged.

When a 'Single White Female' places an ad in the press for a similar woman to rent a room (to replace the boyfriend she's just left), all the applicants seem weird. Then along comes a level headed woman who seems to be just right. The new lodger has a secret past which haunts her.

A former rock star, Johnny Boz, is brutally killed during sex, and the case is assigned to detective Nick Curran of the SFPD. During the investigation, Nick meets Catherine Tramell, a crime novelist who was Boz's girlfriend when he died. Catherine proves to be a very clever and manipulative woman, and though Nick is more or less convinced that she murdered Boz, he is unable to find any evidence. Later, when Nilsen, Nick's rival in the police, is killed, Nick suspects of Catherine's involvement in it. He then starts to play a dangerous lust-filled mind game with Catherine to nail her, but as their relationship progresses, the body count rises and contradicting evidences force Nick to start questioning his own suspicions about Catherine's guilt.

In a daring attempt to start afresh after a dead-end marriage, the successful book editor, Carly Norris, moves into her elegant new apartment on the twentieth floor of a high-tech Manhattan apartment building. Unbeknownst to her that the luxurious "sliver" building comes with a terrible history of unsolved grisly murders, Carly catches the eye of both the burned-out crime novelist, Jack Landsford, and the shyly charming video-game designer, Zeke Hawkins. However, as a mysterious voyeur watches the tenants' every move, yet another female neighbor dies. Could Norris be next?

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A senior at an elite college, already under severe pressure to complete her thesis and land a prestigious job, must confront the sudden reappearance o

Connie Sumner has a loving husband, a beautiful home, and a wonderful son, but she wants more. When she's approached one day by a handsome stranger wh

Having recently been named educator of the year, Sam Lombardo is the well-liked guidance counselor and sailing instructor at Blue Bay High School on t

Happily married New York lawyer Dan Gallagher has an affair with his colleague Alex, and the two enjoy a love weekend while Dan's wife and kid are awa

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Officer Collins has been spearheading one of the US Army's most secretive experiments to date: the Human Hibernation Project. If successful, the project would store its subjects indefinitely until they are needed most. Their first test subject - Joe Bauers - was not chosen for his superiority. Instead, he's chosen because he's the most average guy in the armed services. But scandal erupts after the experiment takes place - the base is closed, and the president denies any knowledge of the project - Unfortunately, Joe doesn't wake up in a year, he wakes up in 500 years. But during that time human evolution has taken a dramatic downturn. After waking up, Joe takes a prison-assigned IQ test and finds that he's the smartest guy alive. Awaiting a full presidential pardon if he can solve one of the country's biggest problems - the dwindling plant population, Joe races against time to solve this problem. But he alienates half the country in the process. Can he make things right and escape a rather bizarre execution?

Trevor Reznik is a machinist in a factory. An extreme case of insomnia has led to him not sleeping in a year, and his body withering away to almost nothing. He has an obsessive compulsion to write himself reminder notes and keep track of his dwindling weight, both scribbled on yellow stickies in his apartment. The only person he lets into his life in an emotional sense is Stevie, a prostitute, although he has an infatuation with Maria, a single mother waitress working in an airport diner. His co-workers don't associate with and mistrust him because of not knowing what is going on in his life that has led to his emaciated physical appearance. A workplace incident further alienates him with his coworkers, and in conjunction with some unfamiliar pieces of paper he finds in his apartment, Trevor believes that someone or some people - probably one or some of his coworkers - are out to get him, using a phantom employee named Ivan as their front. As Trevor goes on a search for evidence as to Ivan's schemes and whereabouts, Trevor may come to a true understanding of what has caused his insomnia.

Jean-Baptiste Grenouille (Ben Whishaw) came into the world unwanted, expected to die, yet born with an unnerving sense of smell that created alienation, as well as talent. Of all of the smells around him, Grenouille is beckoned to the scent of a woman's body, and spends the rest of his life attempting to smell her essence again by becoming a perfumer, and creating the essence of an innocence lost.

A senior at an elite college, already under severe pressure to complete her thesis and land a prestigious job, must confront the sudden reappearance of her old boyfriend, after his two-year, unexplained absence.

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Dostoevsky’s most revolutionary novel, Notes from Underground marks the dividing line between nineteenth- and twentieth-century fiction, and between the visions of self each century embodied. One of the most remarkable characters in literature, the unnamed narrator is a former official who has defiantly withdrawn into an underground existence. In complete retreat from society, he scrawls a passionate, obsessive, self-contradictory narrative that serves as a devastating attack on social utopianism and an assertion of man’s essentially irrational nature.Richard Pevear and Larissa Volokhonsky, whose Dostoevsky translations have become the standard, give us a brilliantly faithful edition of this classic novel, conveying all the tragedy and tormented comedy of the original.

I don’t know what to do with these stars anymore. I give stars to books and then I think, ‘god, you give five stars to everything, people will think you are terribly undiscriminating’ – so then I give four stars or even three stars to some books. Then I look back and it turns out that that I’ve given four stars to Of Human Bondage and honestly, how could I possibly have thought it was a good idea to give that book less than five stars? It is the absurdity of human conventions that has us doing such things.Now, that is what is called a segue, from the Italian ‘seguire’ – to follow. For the last thirty years I have studiously avoided reading this book. I have done that because for the last thirty years I have known exactly what this book is about and there just didn’t seem any point in reading it. In high school friends (one of them even became my ex-wife) told me it was a great book about a man condemned to die because he was an outsider. Later I was told that this book was a story about something much like the Azaria Chamberlain case. A case where someone does not react in a way that is considered to be ‘socially appropriate’ and is therefore condemned.But after 30 years of avoiding reading this book I have finally relented and read it. At first I didn’t think I was going to enjoy it. It didn’t really get off to the raciest of starts and the character's voice – it is told in first person – was a bit dull. He is a man who lives entirely in the present, how terribly Buddhist of him – although, really there doesn’t seem to be all that much to him.My opinion of the book began to change at his mother’s funeral. I particularly liked the man who kept falling behind in the march to the cemetery and would take short cuts. Okay, so it is black humour, but Camus was more or less French – so black humour is more or less obligatory.I really hadn’t expected this book to be nearly so funny as it turned out. I’d always been told it was a ponderous philosophical text – and so, to be honest, I was expecting to be bored out of my skull. I wasn’t in the least bit bored.A constant theme in my life at present is that I read ‘classics’ expecting them to be about something and they end up being about something completely different. And given I’ve called this a ‘constant’ theme then you might think I would be less than surprised when a read a new ‘classic’ and it turns out to be completely different to my expectations. I’m a little more upset about this one than some of the others, as I’ve been told about this one before, repeatedly, and by people I’d have taken as ‘reputable sources’ – although, frankly, how well one should trust one’s ex-wife in such matters is moot.I had gotten the distinct impression from all of my previous discussions about this book that the guy ends up dead. In fact, this is not the case – he ends up at the point in his life where he has no idea if he will be freed or not. The Priest who comes to him at the end is actually quite certain that he will be freed. Let’s face it, he is only guilty of having murdered an Arab, and as we have daily evidence, Westerners can murder Arabs with complete impunity. The main point of the book to me is when he realises he is no longer ‘free’. He needs this explained to him – because life up until then had been about ‘getting used to things’ and one can 'get used to just about anything'. But the prison guard helpfully informs him that he is being ‘punished’ and the manifestation of that punishment is the removal of his ‘freedom’. Interestingly, he didn’t notice the difference between his past ‘free’ life and his current ‘unfree’ one. The most interesting part of the book to me was the very end, the conversation with the priest. The religious often make the mistake of thinking that Atheists are one thing – I’ve no idea how they ever came to make this mistake, but make it they do. Given that there are thousands upon thousands of different shades of Christians – from Jesuit Catholics to Anti-Disney Episcopalians – it should be fairly obvious that something like Atheism (without any ‘organised’ church or even system of beliefs) could not be in anyway ‘homogeneous’.I am definitely not the same kind of Atheist as Camus. To Camus there is no truth, the world is essentially absurd and all that exists is the relative truth an individual places on events and ideas. This makes the conversation with the priest fascinatingly interesting. To the priest the prisoner who is facing death is – by necessity – someone who is interested in God. You can play around with ideas like the non-existence of God when it doesn’t seem to matter (life is long and blasphemy can seem fun) – but surely when confronted with the stark truth of the human condition any man would turn away from their disbelief and see the shining light.Not this little black duck. Now, if I was in that cell I would have argued with the priest too – but I would not have argued in the same way that Meursault argues. No, I do not believe in God, but I do believe in truth, and so Camus’ arguments are barred to me.Meursault essentially says, “Look, I’m bored, I’m totally uninterested in the rubbish you are talking – now go away”. Now, this is a reasonable response. What is very interesting is that the priest cannot accept this as an answer. The world is not allowed to have such a person in it – if such a person really did exist then it would be a fundamental challenge to the core beliefs of the priest. So, he has to assume Meursault is either lying to him or is trying to taunt him. But it is much worse – he is absolutely sincere, he is not interested in this ‘truth’.I don’t know that the world is completely meaningless, it is conventional rather than meaningless. That those conventions are arbitrary (decided by the culture we grew up in) doesn’t make them meaningless, it makes them conventional. I don’t think I would like to live in a world where people go up and kill Arabs pretty much at random and with impunity, but then again, we have already established this is precisely the world I do live in. My point is that it would be better if we did adhere to some sort of moral principles and that these should be better principles than ‘he should be killed because he didn’t cry at his mum’s funeral’. Camus is seeking to say that all of our ‘moral principles’ in the end come to be as meaningless as that – we judge on the basis of what we see from the framework of our own limited experience. And look, yes, there is much to this – but this ends up being too easy.The thing I like most about Existentialism, though it isn’t really as evident in this book as it is in the actual philosophy – although this is something that Meursault is supposed to have grown to understand (sorry, just one more sub-clause) even though this wasn’t something I noticed at all while reading the book, was the notion of responsibility. I didn’t think in the end Meursault was all that much more ‘responsible’ for his actions than he had been at the start. But I do think that ‘responsibility’ is a key concept in morality and one that seems increasingly to be ignored.Better by far that we feel responsible for too much in our lives than too little – better by far that we take responsibility for the actions of our governments (say) than to call these governments ‘them’. I’m not advocating believing in The Secret - but that if one must err, better to err on the side of believing you have too much responsibility for how your life has turned out, rather than too little.So, what can I say? I enjoyed this much more than I expected – but I’m still glad I waited before reading it, I really don’t think I would have gotten nearly as much out of it at 15 as I did now.

Translated and with a preface by Mark HarmanLeft unfinished by Kafka in 1922 and not published until 1926, two years after his death, The Castle is the haunting tale of K.’s relentless, unavailing struggle with an inscrutable authority in order to gain access to the Castle. Scrupulously following the fluidity and breathlessness of the sparsely punctuated original manuscript, Mark Harman’s new translation reveals levels of comedy, energy, and visual power, previously unknown to English language readers.

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.

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