Hyperdream is a major new novel by celebrated French author Hélène Cixous. It is a literary tour de force, returning anew to challenge necessity itself, the most implacable of human certainties: you die in the end -- and thatʹs the end. For you, for me. But what if? What if death did not inevitably spell the end of life? Hyperdream invests this fragile, tentative suspension of disbelief with the sheer force of its poetic audacity, inventing a sort of magic telephone: a wireless lifeline against all the odds to the dearly departed. It is a book about time, age, love and the greatest loss. A book which turns on death: on the question or the moment of death, depending on it, expecting it, living off it, taking place at once before and after, but at the same time turning against it, contesting it, outwriting it hopefully, desperately, performatively, as an interruptible interruption. -- Back cover.

'Alasdair Gray was not always the rapidly ageing, fat Glasgow pedestrian he likes to describe on the inside leaf of his books. There was once a time when he was young. A time when he was really rather thin. Many years when he went unpublished and unrecognised. This book aims to document, as faithfully as possible, that journey from son of a box-maker, encouraged to paint, write and do whatever made him feel good, to septuagenarian "little grey deity" (as Will Self has called him). For the first time in his life, Alasdair claims to be completely satisfied and well-paid (he lived in debt until 1990), and now lives a settled, happy day-to-day existence with Morag, painting his mural at the Oran Mor arts centre five minutes walk from his home most days, while (at the time of writing) taking occasional periods off for writing several books. Aside from work, Gray's pleasures include daytime whisky, giving money away, reading books by people he doesn't have to meet and "having my way". This book will look in depth at the people, events, books, paintings, plays, poems and circumstances that conspired to make the man as he is today.' RODGE GLASS Suiting form to subject, Rodge Glass has brought the inventive techniques of Gray's fiction to bear on the biographer's role. Mixing a chronological narrative of his subject's life (at the rate of one chapter per decade) with his own diaries of meeting, getting to know and working with the artist, writer and campaigner, narrative and diaries eventually dovetail in a riotous final chapter on the publication of Alasdair Gray's latest novel, Old Men in Love, in October 2007.

"In 1966, at the ripe age of 22, Richard Goldstein approached The Village Voice with a novel idea. "I want to be a rock critic," he said. "What's that?" the editor replied. It was a logical question, since rock criticism didn't yet exist. In the weekly column he would produce for the Voice, Goldstein became the first person to write regularly in a major publication about the music that changed our lives. He believed deeply in the power of rock, and, long before it was acceptable, he championed the idea that this music was a serious art form. From his unique position in journalism, he saw the full arc of events that shaped culture and politics in the 1960s--and participated in them, too. He toured with Janis Joplin, spent a day at the Grateful Dead house in San Francisco, and dropped acid with Brian Wilson and the Beach Boys. He was present for Martin Luther King's "I Have a Dream" speech, the student uprising at Columbia, and the riots at the 1968 Democratic Convention. He was challenged to a boxing match by Norman Mailer, and took Susan Sontag to her first disco. Goldstein developed close relationships with several rock legends--Janis Joplin and Jim Morrison, to name two--and their early deaths came as a wrenching shock, fueling his disillusionment as he watched the music he loved rapidly evolve from a communal rite to a vast industry--and the sense of hope for radical social upheaval fade away. Another Little Piece of My Heart is the intimate memoir of the writer as a young man with profound ambition. It is also a sweeping personal account of a decade that no one else could provide--a deeply moving, unparalleled document of rock and revolution in America"--

Hardcover. Jacket shows a few superficial scores, with very minor wear on upper and lower edges. Spine ends of hardcover and jacket are bumped; minimal wear on leading corners of jacket and hardcover. Page block head foxed with a smudge on face; penned number on rear pastedown. Pages are sound and clean throughout; all text clear. TS

When Cosmo Landesman's American parents decided to move their young family to London in the swinging sixties, it was not to pursue a quieter life on this side of the pond. Quite the reverse: it was out of unbridled, unashamed lust for fame and fortune. But things did not go according to plan, and as a child Cosmo found himself charged with raising his starstruck parents and trying to cope with the publicity stunt of their 'open marriage'. Over the years he wrote press releases, blurbs and proposals for their plays, film treatments, novels, book ideas and demo tapes. He found himself playing the roll of creative midwife, personal manager, publicist, psychoanalyst and apologist. Not any more. In this hilarious memoir he finally lays bare his extraordinary childhood and the twists and turns of his parents' bizarre desire for the spotlight - and how they were always doomed to failure.

An autobiographical novel of Yoram Kaniuk's years as a young painter in the New York of the 1950s. Wounded and alienated, a war veteran at the age of nineteen, Kaniuk arrives in Greenwich Village at its peak period of artistic creativity, and finds his way among such giants as Charlie Parker, Billie Holiday, Willem de Kooning, and Frank Sinatra.

Few writers have inspired such affection ain their contemporaries, and in later generations of readers, as Robert Louis Stevenson. And yet, difficult though it is to resist the generous, enchanting personality tht shines out from his letters, it is even harder to define it. A descendant of Calvinists who spent his youth in a Bohemian milieu, a lover of his native Scotland who became committed to exile, a man whose humorous enjoyment of human foibles did not preclude an awareness of the nightmarish background against which some lives are lived - Stevenson was highly complex, with a deep sense of moral ambiguities which runs throughout his work. He could have no abler or more sympathetic biographer than David Daiches, Professor of English Studies at Sussex University, and author of an earlier book on the master (Robert Louis Stevenson: A Revaluation) as well as of biographies of Burns and Scott in this series. In a brilliant and absorbing text, Professor Daiches traces Stevenson's life, from his childhood and early manhood in Scotland (whose scenery and townscapes inspired his work throughout his life), through his visits to France and the United States, and on to his las years in Samoa. Professor Daiches also discusses Stevenson's writings, explaining how he harnessed the disparate elements in his nature so that they fertilized his imagination while he developed his gifts as a romancer, essayist, poet and historical novelist, from his early travel books and Treasure Island - the greatest of all adventure stories for boys - to the tragic conflict so superbly realised in Weir of Hermiston, the masterpiece which he did not live to complete.

Using pagan prose fiction produced in Greek and Latin during the early Christian era, Bowersock investigates the complex relationship among perceived and presented 'historical' and 'fictional' truths. Bowersock's superb lecturing style is successfully transferred into writing with force and eloquence, as he weaves accounts from a wide range of sources into his text, illuminating social attitudes of the period and persuasively arguing that fiction of the period was influenced by the emerging Christian Gospel narratives. In the second half of the first century emerges a new kind of fiction including outlandish tales of travel, romance and comic novels. Bowersock concentrates on secular literature, illuminating not only its literary motifs, but also reconstructing the societal context as one engrossed in fabrications and all kinds of revisions or rewriting. Using these less familiar materials as his points of reference, he reads into familiar Christian material, making linkages and casting new light on familiar subjects, as well as providing some provocative interpretations of familiar Christian texts. Bowersock uses close historical and literary analyses of specific passages of works, and pays attention to larger and more general issues and questions around the relationship between fiction and history and how we read them. This book will be of basic intellectual concern to all raised in the environment of Christian belief.

Aram Saroyan tells of the intimate sides of the life of his father, Pulitzer Prize-Winning playwright and novelist William Saroyan.

Thrown Among the Bones -- My Life in Fiction is a candid account of Patricia Schonstein's creative, deeply lived life as a novelist. Annotated with extracts from her writings, this generous memoir welcomes you behind the scenes, into her Workshop and Costumery. She shows how her own life configures with the scaffolding of her fictions; how characters take up roles both archetypal and simple to tackle existential questions; and how urban landscapes and wilderness serve as the neon-spangled theatres of her story telling."--

The only country in the world with a line in its national anthem as desperate as “this people has already suffered for its past and its future,” Hungary is a nation defined by poverty, despair, and conflict. Its history, of course, took an even darker and more tragic turn during the Holocaust. But the story of the Jews in Hungary is also one of survival, heroism, and even humor—and that is the one acclaimed author Adam Biro sets out to recover in One Must Also Be Hungarian , an inspiring and altogether poignant look back at the lives of his family members over the past two hundred years. A Hungarian refugee and celebrated novelist working in Paris, Biro recognizes the enormous sacrifices that his ancestors made to pave the way for his successes and the envious position he occupies as a writer in postwar Europe. Inspired, therefore, to share the story of his family members with his grandson, Biro draws some moving pictures of them here: witty and whimsical vignettes that convey not only their courageous sides, but also their inner fears, angers, jealousies, and weaknesses—traits that lend an indelible humanity to their portraiture. Spanning the turn of the nineteenth century, two destructive world wars, the dramatic rise of communism, and its equally astonishing fall, the stories here convey a particularly Jewish sense of humor and irony throughout—one that made possible their survival amid such enormous adversity possible. Already published to much acclaim in France, One Must Also Be Hungarian is a wry and compulsively readable book that rescues from oblivion the stories of a long-suffering but likewise remarkable and deservedly proud people.

James Joyce left Dublin in 1904, bound for Trieste and a job teaching English at the Berlitz School. He was to live there for the next eleven years. Italo Svevo, born and bred in Trieste, worked there for his family's marine paint company. He had also written two novels, published privately and unsuccessfully. In 1907, wanting to improve his English to do business with the British Admiralty, Svevo went to Berlitz, where Joyce became his teacher. Svevo was then 46 and Joyce 25. Despite their different backgrounds, Irish Catholic and Triestene Jewish, they had, intellectually, much in common. They admired each other's writing. Joyce improved Svevo's English. Svevo helped Joyce stay solvent, and also became the inspiration for Leopold Bloom. In Ulysses, the near father-son relationship between Stephen Dedalus and Bloom in Dublin was very close to that of Svevo and Joyce in Trieste. The two writers lived through the great political and cultural upheavals of the early twentieth century, and their story has a fascinating supporting cast - W.B. Yeats and G.B. Shaw, Proust and Hemingway, Freud and Jung, H.G. Wells and T.S. Eliot. Although often living in different cities - Zurich, Paris, London - their friendship survived. When Ulysses was finally published in Paris in 1922, its success enabled Joyce to help Svevo find a publisher for his great comic masterpiece The Confessions of Zeno. European literature owes a great deal to that meeting in Trieste.

Memoirs of a Jew who was born in 1919 in Frankfurt to a wealthy family and renamed Otto after his father, who died young. First relates the stories of a number of Jews who contributed to German society; these accounts often end with brief details of deaths in concentration camps or by suicide. After the Koch family jewelry store was Aryanized, the extended family faced the dilemma of how and when to emigrate. In 1935 Otto went to study in England, returning home on holidays until 1938. Chs. 17-18 (pp. 91-103) are devoted to events of 1938, when his mother, who had returned to Frankfurt from Switzerland, succeeded in emigrating. Otto, who was studying at Cambridge, was arrested as an enemy alien by the British, interned, and then sent to Canada, where he and other Jews, along with Nazis and POWs, were imprisoned for over a year and a half. The policy of incarcerating Jews in Canada was not considered unreasonable by Koch and others. They attributed it to fear and obtuseness; antisemitism may have been a factor but not a major one. Koch gives a full account of the German Jews' incarceration in "Deemed Suspect: A Wartime Blunder".

'Personal Terms IV' follows Raphael's distinguished and eventful career as a novelist and Oscar-winning screenwriter, offering a wry take on the glamorous worlds of Hollywood and literary London during the second half of the 1970s.

Against the Stream is the latest volume of Frederic Raphael's acclaimed memoirs Personal Terms , an unrivalled parade of the author's eventful and provocative life, opinions and times drawn from his living and breathing cahiers and journals. "Shrewd, funny, gossipy and elegantly written," as Jeremy Lewis said in the Literary Review , these writings are as unguarded, sardonic and tactless as they are candid. This seventh volume relives Margaret Thatcher's first years in office. Raphael's wide acquaintance in the world of politics, literature, journalism and the movies gives him rare access to the character of those, in England and America, who dominated the times. The unintended result is a Proustian parade of people, famous and otherwise forgotten, and events momentous and strictly personal, presented by an unabashedly partisan, unblinking eye-witness. There is nothing else quite like this unfolding project in English or American literature. "I am not a camera, but--as these carnets prove--I am a pen. The moving finger writes differently from the clicking keys."