A hardcover omnibus edition of the French writer's most famous novel alongside her fascinating wartime writings and a collection of searingly honest and intimate autobiographical essays. EVERYMAN'S LIBRARY CONTEMPORARY CLASSICS.Marguerite Duras was one of the leading intellectuals and novelists of post-war France, but her wartime writings were not published in full until after her death. The Wartime Notebooks trace Duras's formative experiences--including her difficult childhood in Indochina and her harrowing wait for her husband's return from Nazi internment--revealing the personal history behind her bestselling novels. The Lover is the best known of these; set in prewar Indochina, its haunting tale of a tumultuous affair between an adolescent French girl and her wealthy Chinese lover is based on her own life. In spare and luminous prose, Duras evokes life on the margins in the waning days of France's colonial empire, and the passionate relationship between two unforgettable outcasts. Practicalities is a collection of small and intensely personal pieces Duras dictated near the end of her life. These deceptively simple meditations on motherhood, domesticity, sex, love, alcohol, writing, and more are witty, earthy, outspoken, and surprisingly fresh and relevant today.

Mengapa pemeluk Hindu di India mengagungkan sapi? Mengapa orang Yahudi dan Muslim mengharamkan babi, dan sebaliknya orang Maring di New Guinea seakan tidak bisa hidup tanpa babi? Mengapa beberapa kepala suku Indian Amerika Utara membakar harta bendanya sendiri untuk menyombongkan kekayaannya? Mengapa begitu banyak orang di Abad Pertengahan percaya penyihir? Dan mengapa sihir hadir kembali secara mencolok dalam kebudayaan populer kita sekarang? Antropolog Marvin Harris mencoba memberi jawaban atas perilaku sosial yang sering dibilang tak terjelaskan ini, dan menunjukkan bahwa seaneh apa pun polah manusia, pasti ada penjelasan yang bersumber dari kondisi-kondisi ekonomis dan ekologis konkret.

Selected as an Evening Standard 'one to watch in 2023' It's the early 1990s, and in the Irish village of Crossmore, Lucy feels out of place. Despite her fierce friendships, she's always felt this way, and the conventional path of marriage and motherhood doesn't appeal to her at all. Not even with handsome and doting Martin, her closest childhood friend. Lucy begins to make sense of herself during a long hot summer, when a spark with her school friend Susannah escalates to an all-consuming infatuation, and, very quickly, to a desperate and devastating love. Fearful of rejection from her small and conservative community, Lucy begins living a double life, hiding the most honest parts of herself in stolen moments with Susannah. But with the end of school and the opportunity to leave Crossmore looming, Lucy must choose between two places, two people and two futures, each as terrifying as the other. But only one can offer her real happiness. Sunburn is an astute and tender portrayal of first love, adolescent anxiety and the realities of growing up in a small town where tradition holds people tightly in its grasp.

A hardcover omnibus edition of the French writer's most famous novel alongside her fascinating wartime writings and a collection of searingly honest and intimate autobiographical essays. EVERYMAN'S LIBRARY CONTEMPORARY CLASSICS.Marguerite Duras was one of the leading intellectuals and novelists of post-war France, but her wartime writings were not published in full until after her death. The Wartime Notebooks trace Duras's formative experiences--including her difficult childhood in Indochina and her harrowing wait for her husband's return from Nazi internment--revealing the personal history behind her bestselling novels. The Lover is the best known of these; set in prewar Indochina, its haunting tale of a tumultuous affair between an adolescent French girl and her wealthy Chinese lover is based on her own life. In spare and luminous prose, Duras evokes life on the margins in the waning days of France's colonial empire, and the passionate relationship between two unforgettable outcasts. Practicalities is a collection of small and intensely personal pieces Duras dictated near the end of her life. These deceptively simple meditations on motherhood, domesticity, sex, love, alcohol, writing, and more are witty, earthy, outspoken, and surprisingly fresh and relevant today.

Bila mitos itu benar, bahwa ikan mas koki hanya mampu mengingat selama tiga detik, Lian akan mengirim surel kepada Tuhan dan minta dikutuk menjadi ikan. Bagi Lian, ingatan adalah tawa manusia yang menjelma jarum-jarum menyakitkan. Bagi Ombak, ingatan adalah kaki-kaki sewarna arang dalam kantong hitam pada Kamis kelam sembilan delapan. Bertahun-tahun kemudian, Penatu Binata hadir menawarkan jasa mencuci ingatan. Berkat itu, tak ada lagi mimpi-mimpi kelam, tak ada lagi tawa yang menyakitkan. Sayangnya, Lian dan Ombak tak mengetahui bahwa ada kekuatan besar di balik Penatu Binata yang ingin meniadakan kenangan tentang hari itu. Di novel ini, sejarah dituturkan dalam bentuknya yang paling intim: lewat trauma manusia dan proses pulihnya, lewat perjuangan untuk mengingat, dan lewat keyakinan bahwa hanya cinta yang bisa bertahan melawan lupa.

“I got you to look after me, and you got me to look after you, and that's why.” They are an unlikely pair: George is "small and quick and dark of face"; Lennie, a man of tremendous size, has the mind of a young child. Yet they have formed a "family," clinging together in the face of loneliness and alienation. Laborers in California's dusty vegetable fields, they hustle work when they can, living a hand-to-mouth existence. But George and Lennie have a plan: to own an acre of land and a shack they can call their own. While the powerlessness of the laboring class is a recurring theme in Steinbeck's work of the late 1930s, he narrowed his focus when composing Of Mice and Men, creating an intimate portrait of two men facing a world marked by petty tyranny, misunderstanding, jealousy, and callousness. But though the scope is narrow, the theme is universal: a friendship and a shared dream that makes an individual's existence meaningful. A unique perspective on life's hardships, this story has achieved the status of timeless classic due to its remarkable success as a novel, a Broadway play, and three acclaimed films.

“I got you to look after me, and you got me to look after you, and that's why.” They are an unlikely pair: George is "small and quick and dark of face"; Lennie, a man of tremendous size, has the mind of a young child. Yet they have formed a "family," clinging together in the face of loneliness and alienation. Laborers in California's dusty vegetable fields, they hustle work when they can, living a hand-to-mouth existence. But George and Lennie have a plan: to own an acre of land and a shack they can call their own. While the powerlessness of the laboring class is a recurring theme in Steinbeck's work of the late 1930s, he narrowed his focus when composing Of Mice and Men, creating an intimate portrait of two men facing a world marked by petty tyranny, misunderstanding, jealousy, and callousness. But though the scope is narrow, the theme is universal: a friendship and a shared dream that makes an individual's existence meaningful. A unique perspective on life's hardships, this story has achieved the status of timeless classic due to its remarkable success as a novel, a Broadway play, and three acclaimed films.

Dia sangat sadis. Dan, dia masih berkeliaran. Seorang pianis ditemukan mati, terduduk di depan pianonya, dengan bibir terjahit. Bola matanya dirusak, meninggalkan lubang hitam yang amat mengerikan. Rambut palsu merah panjang menutupi kepalanya. Sementara, otak dan organ-organ tubuhnya telah dikeluarkan secara paksa. Kulitnya memucat seputih garam. Bukan, bukan seputih garam. Tapi, seluruh tubuh sang pianis itu benar-benar dilumuri adonan garam. Kiri Lamari, penyidik kasus ini, terus-menerus dihantui lubang hitam mata sang pianis. Mata yang seakan meminta pertolongan sambil terus bertanya, kenapa aku mati? Mata yang mengingatkan Kiri Lamari akan mata ibunya. Yang juga ia temukan tak bernyawa puluhan tahun lalu. Garam? Kenapa garam? Kiri Lamari belum menemukan jawabannya. Sementara mayat tanpa organ yang dilumuri garam telah ditemukan kembali…. Dia sangat sadis. Dan, dia masih berkeliaran.

Dia sangat sadis. Dan, dia masih berkeliaran. Seorang pianis ditemukan mati, terduduk di depan pianonya, dengan bibir terjahit. Bola matanya dirusak, meninggalkan lubang hitam yang amat mengerikan. Rambut palsu merah panjang menutupi kepalanya. Sementara, otak dan organ-organ tubuhnya telah dikeluarkan secara paksa. Kulitnya memucat seputih garam. Bukan, bukan seputih garam. Tapi, seluruh tubuh sang pianis itu benar-benar dilumuri adonan garam. Kiri Lamari, penyidik kasus ini, terus-menerus dihantui lubang hitam mata sang pianis. Mata yang seakan meminta pertolongan sambil terus bertanya, kenapa aku mati? Mata yang mengingatkan Kiri Lamari akan mata ibunya. Yang juga ia temukan tak bernyawa puluhan tahun lalu. Garam? Kenapa garam? Kiri Lamari belum menemukan jawabannya. Sementara mayat tanpa organ yang dilumuri garam telah ditemukan kembali…. Dia sangat sadis. Dan, dia masih berkeliaran.

Diagnosed by her physician husband with a “temporary nervous depression—a slight hysterical tendency” after the birth of her child, a woman is urged to rest for the summer in an old colonial mansion. Forbidden from doing work of any kind, she spends her days in the house’s former nursery, with its barred windows, scratched floor, and peeling yellow wallpaper. In a private journal, the woman records her growing obsession with the “horrid” wallpaper. Its strange pattern mutates in the moonlight, revealing what appears to be a human figure in the design. With nothing else to occupy her mind, the woman resolves to unlock the mystery of the wallpaper. Her quest, however, leads not to the truth, but into the darkest depths of madness. A condemnation of the patriarchy, The Yellow Wallpaper explores with terrifying economy the oppression, grave misunderstanding, and willful dismissal of women in late nineteenth-century society. First published in January 1892 in The New England Magazine. Excerpt: Out of another I get a lovely view of the bay and a little private wharf belonging to the estate. There is a beautiful shaded lane that runs down there from the house. I always fancy I see people walking in these numerous paths and arbors, but John has cautioned me not to give way to fancy in the least. He says that with my imaginative power and habit of story-making a nervous weakness like mine is sure to lead to all manner of excited fancies, and that I ought to use my will and good sense to check the tendency. So I try.