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Librarian's note: See alternate cover edition of ISBN 0571225381 here.In the summer of 1956, Stevens, a long-serving butler at Darlington Hall, decides to take a motoring trip through the West Country. The six-day excursion becomes a journey into the past of Stevens and England, a past that takes in fascism, two world wars, and an unrealised love between the butler and his housekeeper.

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.

A gripping tale of human unrelieved horror, of survival and resilience, and of the ways in which humankind confronts death, The Plague is at once a masterfully crafted novel, eloquently understated and epic in scope, and a parable of ageless moral resonance, profoundly relevant to our times. In Oran, a coastal town in North Africa, the plague begins as a series of portents, unheeded by the people. It gradually becomes an omnipresent reality, obliterating all traces of the past and driving its victims to almost unearthly extremes of suffering, madness, and compassion.

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.

A classic of Mexican modern literature about a haunted village.As one enters Juan Rulfo's legendary novel, one follows a dusty road to a town of death. Time shifts from one consciousness to another in a hypnotic flow of dreams, desires, and memories, a world of ghosts dominated by the figure of Pedro Páramo - lover, overlord, murderer.Rulfo's extraordinary mix of sensory images, violent passions, and unfathomable mysteries has been a profound influence on a whole generation of Latin American writers, including Carlos Fuentes, Mario Vargas Llosa, and Gabriel García Márquez. To read Pedro Páramo today is as overwhelming an experience as when it was first published in Mexico back in 1955.

From folk tales to popular culture, Vampires chronicles the long history of these bloodthirsty creatures, both real and imagined, throughout the world. People's fascination with vampires remains as strong today as it was centuries ago in Eastern Europe, and Vampires deftly explores the evolution of these seductive immortals from ancient history to popular contemporary culture. Beginning with the true stories of the cruel fourteenth-century Romanian prince Vlad Drakul, and the sixteenth-century "Blood Countess" Elizabeth Bathory, Vampires moves into the twentieth century to explore real-life murderers whose motives were the desire to drink the blood of their victims. Vampires also explores the fictional place of vampires in popular culture and, specifically, their proliferation in literature, television and film. Vampires includes four blood-chilling stories about vampires including a professed "true" account by the famous nineteenth-century occultist Franz Hartmann. Handsomely illustrated throughout, Vampires is an essential addition to the libraries of vampire enthusiasts everywhere.

Rich and powerful writing in these three novellas. I will definitely read more of this author. SPOILERS FOLLOW BELOW FOR ALL 3 NOVELLAS! The first novella, The Age of Discretion, centers around the aging process and the end of careers of both husband and wife. In addition, there’s the bitter disappointment the woman feels after the son she has ‘groomed’ to follow in her footsteps as a professor turns thirty and changes career and political outlook to go into government service. His mother feels it’s all about his wife and father-in-law pushing him to make more money and get a ‘real’ Job. Amazingly she turns against her son in an incredibly brutal way. She throws her son out of her house and says things like “I cannot love anyone I do not respect.” And to her husband: “Do you think I ought to see him again?” [This is their son!]The couple is both around 60. He still works as a scientist but feels only younger people can contribute. “Great scientists are valuable to science in the first half of their lives and harmful in the second.” [quote from Bachelard] She argues with him until her latest book that she thought of as 'filled with new insights’ is panned by both critics and friends as a summary of her earlier work. “In earlier days I never used to worry about old people. I looked upon them as the dead whose legs still kept moving.”The second novella, The Monologue, is a bitter screed by a woman left alone and abandoned at age 44. Her daughter, off on her own, died five years ago. “It’s flying in the face of nature that my own brother my own mother should prefer my ex-husband to me.” And: “I wanted decent clean children I didn’t want Francis to become a fairy like Nanard.” “I’m not ill I live alone because your swine of a father ditched me he buttered me up then he tortured me he even knocked me about….I have weapons I’ll use them he’ll come back to me I shan’t go on rotting all alone in this dump with those people on the next floor who trample me underfoot and the ones next door who wake me every morning with their radio and no one to bring me so much as a crust when I’m hungry. All those fat cows have a man to protect them and kids to wait on them and me nothing…” She envisions her enemies roasting in hell: “You owe me this revenge, God. I insist that you grant it to me.” And, of course, through this screed, she reveals so much of herself to us so that we see why she has been abandoned. The title story, The Woman Destroyed, is written as a diary over six months or so. A woman has a husband and two daughters, one locally and one in the US that she seldom sees. Her husband admits to her that he is having an affair. With the advice of her friends she agrees to let him continue with it, taking the attitude that “men his age do these things; it will pass.” That turns out to be a mistake. All her life, she only worked in the home. He still has his career, his wife, his mistress and good times. She has nothing. Even with her women friends all she talks about is her situation with her husband. When she hears his key in the lock “…there was that horrible taste in my mouth – the taste of dread. (The same exactly, as when I used to go to see my father dying in the nursing home.)” “It seems to me that I no longer have anything whatever to do. I always used to be busy. Now everything – knitting, cooking, reading, putting on a record – everything seems pointless.” “Women who do nothing can’t stand those who work.” (Did her husband’s mistress really say that?) Good stories and excellent writing.Paris street scene from dreamstime.comPhoto of the author from alpha.aeon.co/images

Orphaned at birth, Eliza Sommers is raised in the British colony of Valparaíso, Chile, by the well-intentioned Victorian spinster Miss Rose and her more rigid brother Jeremy. Just as she meets and falls in love with the wildly inappropriate Joaquín Andieta, a lowly clerk who works for Jeremy, gold is discovered in the hills of northern California. By 1849, Chileans of every stripe have fallen prey to feverish dreams of wealth. Joaquín takes off for San Francisco to seek his fortune, and Eliza, pregnant with his child, decides to follow him.As we follow her spirited heroine on a perilous journey north in the hold of a ship to the rough-and-tumble world of San Francisco and northern California, we enter a world whose newly arrived inhabitants are driven mad by gold fever. A society of single men and prostitutes among whom Eliza moves--with the help of her good friend and savior, the Chinese doctor Tao Chien--California opens the door to a new life of freedom and independence for the young Chilean. Her search for the elusive Joaquín gradually turns into another kind of journey that transforms her over time, and what began as a search for love ends up as the conquest of personal freedom.

With ravishing beauty and unsettling intelligence, Michael Ondaatje's Booker Prize-winning novel traces the intersection of four damaged lives in an Italian villa at the end of World War II. Hana, the exhausted nurse; the maimed thief, Caravaggio; the wary sapper, Kip: each is haunted by the riddle of the English patient, the nameless, burned man who lies in an upstairs room and whose memories of passion, betrayal, and rescue illuminate this book like flashes of heat lightning.

The Metamorphosis and Other Stories, by Franz Kafka, is part of the Barnes & 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 & Noble Classics:All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & 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.

A moving, funny, triumphant novel that exalts the quiet victories of the inconspicuous among us.We are in the center of Paris, in an elegant apartment building inhabited by bourgeois families. Renée, the concierge, is witness to the lavish but vacuous lives of her numerous employers. Outwardly she conforms to every stereotype of the concierge: fat, cantankerous, addicted to television. Yet, unbeknownst to her employers, Renée is a cultured autodidact who adores art, philosophy, music, and Japanese culture. With humor and intelligence she scrutinizes the lives of the building's tenants, who for their part are barely aware of her existence. Then there's Paloma, a twelve-year-old genius. She is the daughter of a tedious parliamentarian, a talented and startlingly lucid child who has decided to end her life on the sixteenth of June, her thirteenth birthday. Until then she will continue behaving as everyone expects her to behave: a mediocre pre-teen high on adolescent subculture, a good but not an outstanding student, an obedient if obstinate daughter. Paloma and Renée hide both their true talents and their finest qualities from a world they suspect cannot or will not appreciate them. They discover their kindred souls when a wealthy Japanese man named Ozu arrives in the building. Only he is able to gain Paloma's trust and to see through Renée's timeworn disguise to the secret that haunts her. This is a moving, funny, triumphant novel that exalts the quiet victories of the inconspicuous among us.

Herman Hesse's classic novel has delighted, inspired, and influenced generations of readers, writers, and thinkers. In this story of a wealthy Indian Brahmin who casts off a life of privilege to seek spiritual fulfillment. Hesse synthesizes disparate philosophies--Eastern religions, Jungian archetypes, Western individualism--into a unique vision of life as expressed through one man's search for true meaning.

On the eve of his ninetieth birthday a bachelor decides to give himself a wild night of love with a virgin. As is his habit–he has purchased hundreds of women–he asks a madam for her assistance. The fourteen-year-old girl who is procured for him is enchanting, but exhausted as she is from caring for siblings and her job sewing buttons, she can do little but sleep. Yet with this sleeping beauty at his side, it is he who awakens to a romance he has never known. Tender, knowing, and slyly comic, Memories of My Melancholy Whores is an exquisite addition to the master’s work.--back cover

A man returns to the town where a baffling murder took place twenty-seven years earlier, determined to get to the bottom of the story. Just hours after marrying the beautiful Angela Vicario, everyone agrees, Bayardo San Roman returned his bride in disgrace to her parents. Her distraught family forced her to name her first lover; and her twin brothers announced their intention to murder Santiago Nasar for dishonoring their sister.Yet if everyone knew the murder was going to happen, why did no one intervene to try and stop it? The more that is learned, the less is understood, and as the story races to its inexplicable conclusion, an entire society--not just a pair of murderers—is put on trial.

Rich in its stories, characters, and imaginative range, The Book of Laughter and Forgetting is the novel that brought Milan Kundera his first big international success in the late 1970's. Like all his work, it is valuable for far more than just its historical implications. In seven wonderfully integrated parts, different aspects of human existence are magnified and reduced, reordered and emphasized, newly examined, analyzed and experienced.

The thirteenth novel in Émile Zola’s great Rougon-Macquart sequence, Germinal expresses outrage at the exploitation of the many by the few, but also shows humanity’s capacity for compassion and hope.Etienne Lantier, an unemployed railway worker, is a clever but uneducated young man with a dangerous temper. Forced to take a back-breaking job at Le Voreux mine when he cannot get other work, he discovers that his fellow miners are ill, hungry, in debt, and unable to feed and clothe their families. When conditions in the mining community deteriorate even further, Lantier finds himself leading a strike that could mean starvation or salvation for all.•New translation• Includes introduction, suggestions for further reading, filmography, chronology, explanatory notes, and glossary

The brilliant, bestselling, landmark novel that tells the story of the Buendia family, and chronicles the irreconcilable conflict between the desire for solitude and the need for love—in rich, imaginative prose that has come to define an entire genre known as "magical realism."

Ruth Young and her widowed mother, LuLing, have always had a tumultuous relationship. Now, before she succumbs to forgetfulness, LuLing gives Ruth some of her writings, which reveal a side of LuLing that Ruth has never known. . . .In a remote mountain village where ghosts and tradition rule, LuLing grows up in the care of her mute Precious Auntie as the family endures a curse laid upon a relative known as the bonesetter. When headstrong LuLing rejects the marriage proposal of the coffinmaker, a shocking series of events are set in motion–all of which lead back to Ruth and LuLing in modern San Francisco. The truth that Ruth learns from her mother’s past will forever change her perception of family, love, and forgiveness.