From April 1942 to March 1944, Helene Berr, a recent graduate of the Sorbonne, kept a journal that is both an intensely moving, intimate, harrowing, appalling document and a text of astonishing literary maturity. With her colleagues, she plays the violin and she seeks refuge from the everyday in what she calls the "selfish magic" of English literature and poetry. But this is Paris under the occupation and her family is Jewish. Eventually, there comes the time when all Jews are required to wear a yellow star. She tries to remain calm and rational, keeping to what routine she can: studying, reading, enjoying the beauty of Paris. Yet always there is fear for the future, and eventually, in March 1944, Helene and her family are arrested, taken to Drancy Transit Camp and soon sent to Auschwitz. She went - as is later discovered - on the death march to Bergen-Belsen and there she died in 1945, only five days before the liberation of the camp. The last words in the journal she had left behind in Paris were "Horror! Horror! Horror!", a hideous and poignant echo of her English studies. Helene Berr's story is almost too painful to read, foreshadowing horror as it does amidst an enviable appetite for life, for beauty, for literature, for all that lasts.

Copyright, which arose in eighteenth-century London to limit printers’ control of books, has become a labyrinthine construction of laws with colorful and often baffling rationales covering almost all products of human creativity. Principled arguments against copyright arose from the start and nearly abolished it in the nineteenth century. Nonetheless, countless revisions have made copyright ever stronger. A handful of little-noticed changes in the late twentieth century brought about a new enclosure of the cultural commons, concentrating ownership of immaterial goods in very few hands. Not only poems and novels, but wallpaper, computer programs, pop songs, ringtones, cartoon characters, databases, snapshots, and cuddly toys are now deemed to be intellectual properties. Who Owns This Sentence? is an often-humorous and always-enlightening cultural, legal, and global history of the idea that intangible things can be owned, and makes a persuasive case for seeing copyright as an engine of inequality in the twenty-first century.

Idiocy is all around us, whether it's the uncle spouting conspiracy theories, the colleagues who repeat your point but louder, or the commuters who still don't know how to use an escalator. But what is the answer to this perpetual scourge? Here, philosopher Maxime Rovere turns his attention to the murkiest of intellectual corners. With warmth, wit and wisdom, he illuminates a new understanding of idiots, one which examines our relations to others and our own ego, offers tools and strategies to dismantle the most desperate of idiotic situations, and even reveals how to stop being the idiots ourselves (because we're always someone else's idiot). Expertly translated by David Bellos, this is an erudite, enjoyable and much-needed solution to a most familiar vexation..

In a seamless mosaic of dreams and games, a young boy reflects on events as his hometown in Albania falls to a series of invaders. Amid floods and bombings, his own innocence and wonder are lost forever in the madness and brutality of the Second World War. A disturbing mix of tragedy and comedy, politics and sexuality, Chronicle in Stone is a fascinating masterpiece about what it means to grow up in a turbulent world.

Old schoolpublisher meets e-reader: chaos ensues There's a lotof good to be said about publishing, mainly about the food. The books, though -Robert Dubois feels as if he's read the books, but still they keep coming backto him, the same old books just by new authors. Maybe he's ready to settle intothe end of his career, like it's a tipsy afternoon after a working lunch. Butthen he is confronted with a gift: a piece of technology, a gizmo, areader... Dear Reader takes a wry,affectionate look at the world of publishing, books and authors, and is a veryfunny, moving story about the passing of the old and the excitement of the new.

'Beautiful and deep ... a sumptuous treat for any book lover' The Independent 'Food for short story lovers everywhere' Irish Times *A major celebration of the French short story and Spectator Book of the Year* The short story has a rich tradition in French literature. This feast of an anthology celebrates its most famous practitioners, as well as newly translated writers ready for rediscovery. The first volume spans four hundred years, taking the reader from the sixteenth century to the 'golden age' of the fin de siècle. Its pages are populated by lovers, phantoms, cardinals, labourers, enchanted statues, gentleman burglars, retired bureaucrats, panthers and parrots, in a cacophony of styles and voices. From the affairs of Madame de Lafayette to the polemic realism of Victor Hugo, the supernatural mystery of Guy de Maupassant to the dark sensuality of Rachilde, this is the place to start for lovers of French literature, new and old. Edited and with an introduction by Patrick McGuinness, academic, writer and translator.

It felt like the slipknot on a rope round my chest was being tightened without pity Trouble is the last thing Albert needs. Travelling back to his childhood home on Christmas Eve to mourn his mother's death, he finds the loneliness and nostalgia of his Parisian quartier unbearable... Until, that evening, he encounters a beautiful, seemingly innocent woman at a brasserie, and his spirits are lifted. Still, something about the woman disturbs him. Where is the father of her child? And what are those two red stains on her sleeve? When she invites him back to her apartment, Albert thinks he's in luck. But a monstrous scene awaits them, and he finds himself lured into the darkness against his better judgment. Unravelling like a paranoid nightmare, Bird in a Cage melds existentialist drama with thrilling noir to tell the story of a man trapped in a prison of his own making.

(Book Jacket Status: Jacketed)
From one of the most brilliant and influential thinkers of the twentieth century-two novels, six short stories, and a pair of essays in a single volume. In both his essays and his fiction, Albert Camus (1913--1960) de-ployed his lyric eloquence in defense against despair, providing an affirmation of the brave assertion of humanity in the face of a universe devoid of order or meaning.
"The Plague"-written in 1947 and still profoundly relevant-is a riveting tale of horror, survival, and resilience in the face of a devastating epidemic. "The Fall" (1956), which takes the form of an astonishing confession by a French lawyer in a seedy Amsterdam bar, is a haunting parable of modern conscience in the face of evil. The six stories of "Exile and the Kingdom "(1957) represent Camus at the height of his narrative powers, masterfully depicting his characters-from a renegade missionary to an adulterous wife -at decisive moments of revelation. Set beside their fictional counterparts, Camus's famous essays "The Myth of Sisyphus" and "Reflections on the Guillotine" are all the more powerful and philosophically daring, confirming his towering place in twentieth-century thought.

"Anti-Semitism revisited in a wholly original way" Philippe Sands "Rippling with ideas on every page" Jewish Chronicle "Tackles the issue [of anti-semitism] from the perspective of a country where its manifestations have been more vicious and deadly" Financial Times Rabbi Delphine Horvilleur analyses the phenomenon of anti-semitism as it is viewed by those who endure it and who, through narration and literature, succeed in overcoming it. Jewish texts are replete with treatments of anti-semitism, of this endlessly paradoxical hatred, and of the ways in which Jews are perceived by others. But here, the focus is inverted: Anti-Semitism Revisited explores the hatred of Jews as seen through the lens of the sacred texts, rabbinical tradition and Jewish lore. Delphine Horvilleur gives a voice to those who are too often deprived of one, examining resilience in the face of adversity and the legacy of an ancient hatred that is often misunderstood. An engaging, hopeful and very original examination of anti-semitism: what it means, where it comes from, what are the ancient myths and tropes that are weaponised against Jewish people, and how do we take them apart. Translated from the French by David Bellos

It is the fifteenth century and war looms. The people of Albania have refused to negotiate with the Ottoman Empire and they know their fate is sealed. As they take refuge in a fortress in the mountains, the army arrives and prepares to lay siege to the Christian citadel.

Both a political history and a moral critique of the twentieth century, this is a personal and impassioned book from one of Europe's most outstanding intellectuals. Identifying totalitarianism as the major innovation of the twentieth century, Tzvetan Todorov examines the struggle between this system and democracy and its effects on human life and consciousness. Totalitarianism managed to impose itself because, more than any other political system, it played on people's need for the absolute: it fed their hope to endow life with meaning by taking part in the construction of a paradise on earth. As a result, millions of people lost their lives in the name of a higher good. While democracy eventually won the struggle against totalitarianism in much of the world, democracy itself is not immune to the pitfall of do-goodery: moral correctness at home and atomic or "humanitarian" bombs abroad. Todorov explores the history of the past century not only by analyzing its spectacular political conflicts but also by offering moving profiles of several individuals who, at great personal cost, resisted the strictures of the communist and Nazi regimes. Some--Margarete Buber-Neumann, David Rousset, Primo Levi, and Germaine Tillion--were deported to concentration camps. Others--Vasily Grossman and Romain Gary--fought courageously in World War II. All became exemplary witnesses who described with great lucidity and humanity what they had endured. This book preserves the memory of the past as we move into the twenty-first century--arguing eloquently that we must place the past at the service of a just future.

In his compelling prequel to The Successor, Kadare draws us into a land deprived of choice, a country under a reign of terror. The spellbinding Agamemnon's Daughter was written in Albania in the 1980s and smuggled into France a few pages at a time. It reveals a world where fear is an instrument of power, but the individual survives despite the odds. From the winner of the first Man Booker International Prize comes a searing story of love denied, then shattered under the chilling wheels of the state. Through the impeccably crafted, incisive tale of a thwarted lover's odyssey through a single day, we are given a true sense of how hard it can be to remain human in a world ruled by fear and suspicion.

The Designated Successor was found dead in his bedroom at dawn on December 14. Did he kill himself or was he murdered? This question slices through Ismail Kadare's masterful psychological thriller. As the state insists that the future leader died by his own hand, the rest of the world begins to have doubts. As the tension builds and rumours escalate, Kadare draws us into a nightmarish world controlled by rules no one understands, blending dream and reality to produce a mystery and a thriller that seduces and surprises up to the last page.

1958. In a dorm room in Moscow, a young writer is woken by the sound of angry voices on the radio. Through the fog of a hangover he hears the news that a novel called Doctor Zhivago has earned its author the Nobel Prize. There is uproar. The author, Boris Pasternak, faces exile, the press hound him and demand that he refuse the award. A few days earlier the young writer found a copy of this book - could those simple pages really be so dangerous? Based on Ismail Kadare's own experience, Twilight of the Eastern Gods is a portrait of a city, a story of youthful disenchantment and a reminder of the incredible importance of the written word.

An important exploration into how copyright has become a tool of unprecedented power and wealth for the few, widening the gap between the richest and poorest in society. Copyright is everywhere. It controls much of what we do in the modern world, including the films we watch, the books we read, the music we listen to, the video games we play and the apps we use on our mobile telephones. Copyright goes beyond content created by the living. Today, legal battles are being fought over who owns the permissions (and thereby earns the profit) in the output of artificial intelligence programs. What began as a means of regulating the trade in books, has developed into a legal and linguistic labyrinth that has given financial and cultural ownership to an increasingly smaller group of larger corporations. Who Owns This Sentence? looks at how throughout history, principled arguments, greed, and opportunism have ensured copyright's ascendency, and unveils those who are behind a phenomenon that has faced little public debate.

Thoughts of Sorts, one of Georges Perec's final works, was published posthumously in France in 1985. With this translation, David Bellos, Perec's preeminent translator, has completed the Godine list of Perec's great works translated into English and has provided an introduction to this master of "systematic versatility." Thoughts of Sorts is a compilation of musings and essays attempting to circumscribe, in Perec's words, "my experience of the world not in terms of the reflections it casts in distant places, but at its actual point of breaking surface." Perec investigates the ways by which we define our place in the world, reveling in listmaking, orientating, classifying. This book employs all of the modes of questioning explored by his previous books, and at the same time breaks new ground of its own, ending with a question mark in typical/atypical Perec fashion.

The first novel which appeared in Georges Simenon's famous Maigret series, in a gripping new translation by David Bellos. Not that he looked like a cartoon policeman. He didn't have a moustache and he didn't wear heavy boots. His clothes were well cut and made of fairly light worsted. He shaved every day and looked after his hands. But his frame was proletarian. He was a big, bony man. His firm muscles filled out his jacket and quickly pulled all his trousers out of shape. He had a way of imposing himself just by standing there. His assertive presence had often irked many of his own colleagues. In Simenon's first novel featuring Maigret, the laconic detective is taken from grimy bars to luxury hotels as he traces the true identity of Pietr the Latvian. This novel has been published in previous translations as The Case of Peter the Lett and Maigret and the Enigmatic Lett. 'Compelling, remorseless, brilliant' John Gray 'One of the greatest writers of the twentieth century' Guardian

A classic medieval mystery from the winner of the inaugural Man Booker International Prize, a writer in the class of Atwood, Coetzee, Marquez, and Rushdie An old woman is awoken in the dead of night by knocks at her front door. The woman opens it to find her daughter, Doruntine, standing there alone in the darkness. She has been brought home from a distant land by a mysterious rider she claims is her brother Konstandin. But unbeknownst to her, Konstandin has been dead for years. What follows is chain of events which plunges a medieval village into fear and mistrust. Who is the ghost rider?

Gaspard Winckler, master forger, is trapped in a basement studio on the outskirts of Paris, with his paymaster's blood on his hands. The motive for this murder? A perversion of artistic ambition. After a lifetime lived in the shadows, he has strayed too close to the sun. Fittingly for such an enigmatic writer, Portrait of a Man is both Perec's first novel and his last. Frustrated in his efforts to find a publisher, he put it aside, telling a friend: "I'll go back to it in ten years when it'll turn into a masterpiece, or else I'll wait in my grave until one of my faithful exegetes comes across it in an old trunk." An apt coda to one of the brightest literary careers of the twentieth century, it is - in the words of David Bellos, the "faithful exegete" who brought it to light - "connected by a hundred threads to every part of the literary universe that Perec went on to create - but it's not like anything else that he wrote".

Cousin Bette (1846) is considered to be Balzac's last great novel, and a key work in his Human Comedy. Set in the Paris of the 1830s and 1840s, it is a complex tale of the devastating effect of violent jealousy and sexual passion.
Against a meticulously detailed backdrop of a post-Napoleonic France struggling with massive industrial and economic change, Balzac's characters span many classes of society, from impoverished workers and wealthy courtesans to successful businessmen and official dignitaries.
The tragic outcome of the novel is relieved by occasional flashes of ironic comedy and the emergence of a younger generation which has come to terms with the new political and econimic climate.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Is That a Fish in Your Ear? by David Bellos asks: how do we really make ourselves understood to other people? This funny, wise and life-affirming language book shows how, from puns to poetry, news bulletins to the Bible, Asterix to Swedish films, translation is at the heart of everything we do - and makes us who we are. Selected by The New York Times as one of the 100 Notable Books of 2011 'A wonderful, witty book ... richly original, endlessly fascinating ... for anyone interested in words' Economist, Books of the Year 'A scintillating bouillabaisse ... spiced with good and provocative things' Literary Review 'Dazzlingly inventive' The New York Times 'Clear and lively ... There is nothing quite like it' Spectator

As spring arrives in the Albanian mountain town of B-, some strange things are emerging in the thaw. Bank robbers strike the National Bank. The ghastly Kanun, regulator of medieval Albania's blood vendettas, is dredged up from the shipwreck of history. And the ultra-explosive secrets of the state archives, rumoured to be buried in the area, are threatening to flood the entire nation. As Mark, an artist, struggles to complete portraits of his inextricably disturbed girlfriend and of the iceberg that struck the Titanic, he finds the dreamy, peaceful rhythms of his life turned upside down by ancient love and modern barbarism, by the renaissance of Brezhnev and Oedipus and by the peculiar brutality of a country surprised and divided by its new freedom.

The undisputed master of stylistic criticism, Leo Spitzer combined phenomenal learning in historical and comparative linguistics with brilliant and original critical insight. He was born in Vienna in 1887. He studied Romance Philology at the Universities of Vienna and Paris and then taught at Vienna, Bonn, Marburg and Cologne. After escaping from Germany in 1933, he taught briefly at Istanbul and then at The Johns Hopkins University in Baltimore. He died in 1960. He was the author of over 800 books, articles, reviews and notes on the language and literatures of France, Spain, Italy, Portugal, Romania, Germany, England and America from the Middle Ages to the twentieth century. This translation brings together for the first time in any language all of Spitzer's work on the literature of seventeenth-century France, including 'Racine's classical piano' (1928) and 'Saint-Simon's portrait of Louis XIV' (1928). Each of the essays demonstrates in practical rather than theoretical terms the essential unity of literary and linguistic study. David Bellos's introduction sets Spitzer's method of textual and stylistic interpretation in its historical context and sketches out the career of this supremely knowledgeable reader for whom knowledge was less important than understanding.

One of the most dazzling and ingeniously contrived works of twentieth-century fiction, an entire microcosm brought to life in a Paris apartment block. Serge Val-ne, one of the inhabitants of the apartment block, has conceived the idea of a painting which will show in exact detail the inside of each apartment within the building, every person, every object. As he thinks of his picture, he contemplates the lives of all the people he has ever known or heard about in sixty years living there.

Chapter by chapter, room by room, the narrative moves around the building, revealing as it does so a marvellously diverse cast of characters in a series of ever more unlikely tales, which range from an avenging murderer to an eccentric English millionaire who has devised the ultimate pastime…

This up-to-date account of the novel's composition, structure, and achievement provides readers with the literary and historical knowledge needed to make sense of the text. Professor Bellos explains how Balzac challenged prevailing nineteenth-century expectations of what novels should be like.