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In the decades since its original publication, But for the Lovers has acquired an underground reputation as one of the most remarkable novels about World War II, doing for the Pacific war theater what Joseph Heller's Catch-22 did for the European.Set in the Philippines, But for the Lovers depicts the survival of a cross-section of Filipinos during the Japanese Occupation and the American Liberation. The cast is enormous, including an old man who used to wander the countryside entertaining children, a young girl raped by Japanese soldiers, guerrilla messengers bringing word of the coming of the American army, and a Japanese major who views the war as the first step of the liberation of the Asian people from Western civilization.This extraordinary novel is no less remarkable for the power and the beauty of its language than for the exotic and magical world it creates. Ranging from hallucinatory lyricism to documentary realism, from black humor sketches to scenes of horror and degradation, But for the Lovers is a rich and complex exploration of language, history, and mythology. The hardcover edition (Dutton, 1970) was praised by the New York Times Book Review as "stunning"; this is the first paperback edition, for which novelist Robert Coover has written an appreciative foreword.

First reissue in more than aa decade; Reccently retired from Brown University, Maso has a strong cult following; Predecessor to lyrical, feminist, experimental works of today

"Originally co-published in 1984 by Allison & Busby and Brandon Books; a second edition was published in 1986 by Allison & Busby" -- Verso title page.

The essential summary of Latin American fiction by one of the greatest Latin American writers.

November may be said to have four protagonists: a group of night-shift workers in Southeast France; their friends, relatives, lovers, acquaintances; the factory in which they work; the work itself. The focus is on two and a half hours during one evening in November 1976 and the plastic die-casting workshop where the men are employed. Staggering in scope, November is a virtuoso performance¿a contemporary take on the classical modernist novel, anatomizing the ways we live, think, and labor: what we've lost, and what we're losing.

"Originally published in German as Hinter dem Bahnhof, by Engeler, 2010"--Title page verso.

The eighteenth-century German physicist Georg Christoph Lichtenberg left behind at the time of his death thousands of fragmentary notes commenting on a dazzling and at the same time puzzling array of subjects. Pierre Senges¿s Fragments of Lichtenberg imaginatively and hilariously reconstructs the efforts of scholars across three centuries to piece together Lichtenberg¿s disparate notes into a coherent philosophical or artistic statement. What emerges instead from their efforts are a wide variety of conflicting and competing Lichtenbergs ¿ the poet, the physicist, the philosopher, the humorist ¿ and a very funny meditation on the way interpretations and speculation create new histories and new realities.In just over half a century, Georg Christoph Lichtenberg (1742-1799) had the time to be all of the following: a hunchback; a mathematician; a physics professor; a connoisseur of hare pate; a hermit; an electrical theorist; a skirtchaser; a friend of King George III of England; an asthmatic; a defender of reason; a hypochondriac; a dying man; and the author of 8,000 fragments written with ink and goose quills. Traditionally those fragments have been considered no more than aphorisms, to be sipped like fine schnapps, but certain scholars claim, however, that his famous Wastebooks are really the scattered pieces of a Great Novel, and that this might yet be reconstructed, with the help of scissors, glue, and paper, and by using what is left of our imaginations. The present volume retracts, among other things, the work undertaken for more than a century by valiant Lichtenbergians.

"From the German novel Stromschnellen by Patrick Boltshauser."

Reprint of the 1st ed. Published in 1971.

The Marquis de Sade is alive and well and living in Sweden...

Written when John Barth was 24 years old, The Floating Opera is his first novel, published in 1957. It is a first-person reminiscence of the day Todd Andrews decided to commit suicide. Having picked up some sense of the French Existentialist writers from the postwar Zeitgeist, this novel questions life's value through the eyes of a 37-year-old man.

Taking Dante Gabriel Rossetti, William Morris, and Gerard Manley Hopkins as its primary subjects, Surface Tension reveals how these later Victorian poets repeatedly imagine the aesthetic moment--charged, variegated, intensely focused--as capable of birthing a new, and newly redemptive, culture, offering new insights into the debt we owe to the most radical of the Victorians.

Man + Doctor is Nicholas Wadley's wordless story of encounters with doctors, from the patient's attempts to avoid the scalpel, to, once surgery becomes inevitable, watching himself learn to cope with days and weeks spent in hospital beds.

Replacement, Ulven s only novel, is a miniature symphony, uniting the perspectives of fifteen unrelated characters into what seems a single narrative voice, dramatizing the tension between concrete realities and our interior lives.

Largely autobiographical, Why the Child Is Cooking in the Polenta incorporates Aglaja Veteranyi's own experiences as a circus child, refugee, and wanderer . . .

"Originally published in Korean as Nae adul ui yonin by Munhad Tongne, Paju, 2008"--Title page verso.

Susan Sontag writes: "Of the novelists I have discovered in translation . . . the three for whom I have the greatest admiration are Gabriel Garci a Ma rquez, Peter Handke, and Yoram Kaniuk."

"A hidden genius of Argentine literature."--Le Monde

The Birdman, narrator of Our Circus Presents, lives in a one-room apartment on the fifth floor of a squalid tenement block in northern Romania...

Half philosopher and half clown-prince, Gert Jonke is Austria s comic gift to contemporary fiction.

"Reading such a world means stepping inside it, letting it infect you, bruise, scrape, poison and obsess you." Jonathan Bolton, CONTEXT