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Winner of the EBRD Literature Prize 2019 On New Years'Eve 1938, the writer Abdulla Qodiriy is taken from his home by the Soviet secret police and thrown into a Tashkent prison. There, to distract himself from the physical and psychological torment of beatings and mindless interrogations, he attempts to mentally reconstruct the novel he was writing at the time of his arrest – based on the tragic life of the Uzbek poet-queen Oyhon, married to three khans in succession, and living as Abdulla now does, with the threat of execution hanging over her. As he gets to know his cellmates, Abdulla discovers that the Great Game of Oyhon's time, when English and Russian spies infiltrated the courts of Central Asia, has echoes in the 1930s present, but as his identification with his protagonist increases and past and present overlap it seems that Abdulla's inability to tell fact from fiction will be his undoing. The Devils'Dance brings to life the extraordinary culture of 19th century Turkestan, a world of lavish poetry recitals, brutal polo matches, and a cosmopolitan and culturally diverse Islam rarely described in western literature. Hamid Ismailov's virtuosic prose recreates this multilingual milieu in a digressive, intricately structured novel, dense with allusion, studded with quotes and sayings, and threaded through with modern and classical poetry. With this poignant, loving resurrection of both a culture and a literary canon brutally suppressed by a dictatorship which continues today, Ismailov demonstrates yet again his masterful marriage of contemporary international fiction and the Central Asian literary traditions, and his deserved position in the pantheon of both.

L'étrange dernière rencontre d'un éditeur sceptique et de son auteur à succès...Ce premier livre, que je vous suggère de prendre pour le premier chapitre d'une œuvre plus large, regardez-le comme une épure. Il retrace l'étrange dernière rencontre d'un éditeur sceptique et de son auteur à succès… Ils se retrouvent bouleversés lors d'un échange d'une teneur que rien n'annonçait, de sorte qu'ils ne peuvent « enfin » se sentir soulagés mais soulagés tout de même.Quentin, éditeur, a vainement tenté d'écrire son autobiographie, un projet que lui arrache son plus cher auteur dans une tentative tout aussi vaine. Une femme paraît (les prochains livres nous apprendront qui elle est et ce que deviendra ce livre)… Un livre d'abord sans écriture car ici seule compte et parle à l'auteur sa nouvelle écriture lorsqu'elle lui devient impossible.A travers ce premier chapitre, plongez-vous dans une saga poétique et littéraire!EXTRAITSeul, je m'attardais à suivre leur éloignement, je me figeais à leur allure, trop arrangée pour ne pas être parlante, et puisque mes pensées me retenaient d'aller au-devant d‘eux, à distance je me laissais entraîner par la transparence de leur esprit vers ce qu'ils cristallisaient. J'écartais cette femme qui marchait devant lui mais que plus rien ne colorait. Je m‘arrêtais au silence de leur séparation, lui portant une attention plus délicate que la tendresse ressentie par un prêtre à une quelconque célébration. Je fixais Quentin tandis qu'ils restaient un dernier instant à se dévisager; de son regard familier je m'attirais ses volontés de recouvrer nos bavardages passés. Enfin, je me levais et sortais seul, le regard fugacement tourné vers un homme autrement brisé qui s‘empressait de prendre place dans ce décor desséché.À PROPOS DE L'AUTEURRien ne prédestinait Adel Benabdallah à l'écriture. Né dans un milieu populaire, sans livres, mais riche en histoires, il a aujourd'hui 45 ans, et écrit ce qui lui était venu lorsqu'il en avait 20. Au lecteur, il demande de porter à ce livre l'attention que réclame son écriture. Elle est celle d'un homme qui d'abord inculte, se reprend au terme de deux décennies d'un progrès qui ne l'auront avancé en rien.

A história se passa no Rio de Janeiro do Segundo Império e conta a trajetória de Bentinho e Capitu. A dúvida quanto à traição da mulher amada, Capitu, é o motor do grande clássico de Machado de Assis. Trata-se de um romance narrado em primeira pessoa por Bentinho, o que permite manter questões sem elucidação até o final, já que a história conta apenas com a perspectiva subjetiva de Bentinho. O romance Dom Casmurro, além de estar entre as grandes obras da literatura brasileira, é considerado a obra-prima de Machado de Assis. Neste volume, o professor Ricardo Leão faz comentários e notas acerca da estrutura literária, política e costumes, além de um glossário. As ilustrações são de Eduardo Burato. Um livro indicado para estudantes e aqueles que desejam conhecer mais profundamente a obra do bruxo do Cosme Velho. Esta edição traz comentários de estilo, de vocabulário, além de um índice cronológico importante na compreensão do tempo no qual se situa a história. Traz apresentação e posfácio fundamentais à compreensão da obra. É também ilustrado. O texto foi consolidado com edições originais. Integra a Coleção Clássicos Lazuli.

A classic of Canadian literature, here is the A List edition of Daphne Marlatt's utterly original novel about rescuing a forgotten woman from obscurityAna Historic is the story of Mrs. Richards, a woman of no history, who appears briefly in 1873 in the civic archives of Vancouver. It is also the story of Annie, a contemporary, who becomes obsessed with the possibilities of Mrs. Richards's life.

The Country of the Pointed Firs (1896) is Sarah Orne Jewett's most popular book. In its elegantly constructed sketches, a worldly, anonymous writer spends the summer in a tiny Maine fishing village where she hopes to find peace and solitude. As she gains the acceptance and trust of her hosts, the community's power and complexity are slowly revealed. While its episodes portray the difficulty and loneliness of rural life, they also display its dignity and strength, particularly as expressed in the bonds between women: mothers, daughters, and friends.This centennial edition contains a facsimile of the original text, thereby restoring the novel to Jewett's own version, which had been considerably altered in other published versions, plus four related stories. Further enhancing the importance of this volume is editor Sarah Way Sherman's introduction, which includes a sketch of Jewett's life and professional development, a commentary on textual accuracy, and a discussion of the book's themes and techiques as well as its historical context.