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The Vortex That Unites Us is a study of totality in Russian literature, from the foundation of the modern Russian state to the present day. Considering a diversity of texts that have in common chiefly their prominence in the Russian literary canon, Jacob Emery examines the persistent ambition in Russian literature to gather the whole world into an artwork. Emery reveals how the diversity of totalizing figures in the Russian canon—often in alliance with ideologies like the totalitarian state or enlightenment reason—strive for the frontiers of space and time in order to guarantee the coherence of the globe and the continuity of history. He expores subjects like romantic metaphors of supernatural possession; Tolstoy's conception of art as a vector of emotional contagion; the panoramic ambitions of the avant-garde to grasp the globe in a new poetic medium; efforts of Soviet utopians to harmonize the whole of social life along aesthetic lines; Mandelstam's evocation of writing as a transcendental authority that guarantees a grandiose historical rhythm even when manifested as authoritarian repression; and the mass market of cultural commodities in which the exiled Vladimir Nabokov found success with his novel Lolita. The Vortex That Unites Us reveals a common thread in the disparate works it explores, bringing into a single horizon a variety of typically siloed texts and aesthetic approaches. In all these cases, the medium of totality is the body, inspired by artistic vision and compelled by aesthetic response.
Culture, Politics, and Governing: The Contemporary Ascetics of Knowledge Production is a critical, interdisciplinary approach to how the practices that govern the production of knowledge and culture have material consequences for how we experience everyday life.
Part I. Krzhizhanovsky on theater -- Part II. That third guy -- Part III. Krzhizhanovsky on Shaw and Shakespeare -- Part IV. Krzhizhanovsky on Pushkin.
AN NYRB CLASSICS ORIGINAL Mavis Gallant’s novels are as memorable as her renowned short stories. Full of wit and psychological poignancy, A Fairly Good Time, here with Green Water, Green Sky, encapsulates Gallant’s unparalleled skill as a storyteller. Shirley Perrigny (née Norrington, then briefly Higgins), the heroine of A Fairly Good Time, is an original. Derided by the Parisians she lives among and chided by her fellow Canadians, this young widow—recently remarried to a French journalist named Philippe—is fond of quoting Jane Austen and Kingsley Amis and of using her myopia as a defense against social aggression. As the fixed points in Shirley’s life begin to recede—Philippe having apparently though not definitively left—her freewheeling, makeshift, and self-abnegating ways come to seem an aspect of devotion to her fellow man. Could this unreliable protagonist be the unwitting heroine of her own story? Green Water, Green Sky, Gallant’s first novel, is a darker tale of the fractured family life of Bonnie McCarthy, an American divorcée, and her daughter, Flor. Uprooted and unmoored, mother and daughter live like itinerants—in Venice, Cannes, and Paris—glamorous and dependent. With little hope of escape, Flor attempts to flee this untidy life and the false notes of her mother.
An NYRB Classics Original Deep in Provence, a century ago, four stone houses perch on a hillside. Wildness presses in from all sides. Beyond a patchwork of fields, a mass of green threatens to overwhelm the village. The animal world—a miming cat, a malevolent boar—displays a mind of its own. The four houses have a dozen residents—and then there is Gagou, a mute drifter. Janet, the eldest of the men, is bedridden; he feels snakes writhing in his fingers and speaks in tongues. Even so, all is well until the village fountain suddenly stops running. From this point on, humans and the natural world are locked in a life-and-death struggle. All the elements—fire, water, earth, and air—come into play. From an early age, Jean Giono roamed the hills of his native Provence. He absorbed oral traditions and, at the same time, devoured the Greek and Roman classics. Hill, his first novel and the first winner of the Prix Brentano, comes fully back to life in Paul Eprile’s poetic translation.
A plane crashes in the vast Northern Territory of Australia, and the only survivors are two children from Charleston, South Carolina, on their way to visit their uncle in Adelaide. Mary and her younger brother, Peter, set out on foot, lost in the vast, hot Australian outback. They are saved by a chance meeting with an unnamed Aboriginal boy on walkabout. He looks after the two strange white children and shows them how to find food and water in the wilderness, and yet, for all that, Mary is filled with distrust. On the surface Walkabout is an adventure story, but darker themes lie beneath. Peter’s innocent friendship with the boy met in the desert throws into relief Mary’s half-adult anxieties, and the book as a whole raises questions about what is lost—and may be saved—when different worlds meet. And in reading Marshall’s extraordinary evocations of the beautiful yet forbidding landscape of the Australian desert, perhaps the most striking presence of all in this small, perfect book, we realize that this tale—a deep yet disturbing story in the spirit of Adalbert Stifter’s Rock Crystal and Richard Hughes’s A High Wind in Jamaica—is also a reckoning with the mysteriously regenerative powers of death.
H. G. Wells and All Things Russian is a fertile terrain for research and this volume will be the first to devote itself entirely to the theme. Wells was an astute student of Russian literature, culture and history, and the Russians, in turn, became eager students of Wells’s views and works. During the Soviet years, in fact, no significant foreign author was safer for Soviet critics to praise than H. G. Wells. The reason was obvious. He had met – and largely approved of – Lenin, was a close friend of the Soviet literary giant Maxim Gorky and, in general, expressed much respect for Russia’s evolving Communist experiment, even after it fell into Stalin’s hands. While Wells’s attitude towards the Soviet Union was, nevertheless, often ambivalent, there is definitely nothing ambiguous about the tremendous influence his works had on Russian literary and cultural life.
There was a time when New York was everything to me: my mother, my mistress, my Mecca, when I could no more have wanted to live any place else than I could have conceived of myself as a daddy, disciplining my boy and dandling my daughter. So begins "Nights in the Gardens of Brooklyn", which gives its title to Harvey Swados's collected stories. In this beautiful and heartbreaking novella, Swados describes a generation "aflame with romance and disillusion," in search of pleasures and answers, and shows how the demands of love and life temper its hopes and fears. It is a perennial story, told by Swados in straightforward and lyrical prose and with tremendous sympathy, and without doubt one of the most enduring achievements of postwar American fiction. Harvey Swados's many splendid stories speak of work, friendship, and family. They are about the common world, as well as the final loneliness from which the common world cannot protect us. And yet Swados, as Richard Gilman has written, was above all concerned with "the breakthrough into true feeling, the attainment of moral dignity, and the linking up with others through compassion."
A revolution is under way at a once sleepy New England bank. Forty-five-year-old Frances Fitzgibbons has gone from sweet-tempered loan officer to insatiable force of nature almost overnight. Suddenly she’s brazenly seducing the high-school drum major, taking over her boss’s office, firing anyone who crosses her, inspiring populist fervor, and publicly announcing plans to crush her local rivals en route to dominating the entire banking industry in the northeast. The terrifying new order instituted by Frankie and her offbeat goon squad (led by her devoted hairdresser and including her own son-in-law) is an awesome spectacle to behold. Brimming with snappy dialogue and gleeful obscenity, Ride a Cockhorse is a rollicking cautionary tale of small-town demagoguery that might be seen to prefigure both America’s current financial woes and the rise of Sarah Palin. Frances is in any case a beautiful monster of an antiheroine—resist her at your peril!
From the fictional land of Carcosa that inspired the HBO show True Detective to H. P. Lovecraft’s accursed New England hills, this collection features some of the most legendary landscapes of the cosmic horror genre. The collection includes the following twelve stories: Edgar Allan Poe, "MS. Found in a Bottle" Bram Stoker, "The Squaw" Ambrose Bierce, "Moxon's Master" Ambrose Bierce, "The Damned Thing" Ambrose Bierce, "An Inhabitant of Carcosa" R. W. Chambers, "The Repairer of Reputations" M. P. Shiel, "The House of Sounds" Arthur Machen, "The White People" Algernon Blackwood, "The Willows" Henry James, "The Jolly Corner" Walter de la Mare, "Seaton's Aunt" H. P. Lovecraft, "The Colour Out of Space" “The true weird tale has something more than a secret murder, bloody bones, or a sheeted form clanking chains. An atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; a hint of that most terrible conception of the human brain—a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space.”—H. P. Lovecraft