England, 1923. A gentleman critic named Leslie Shepherd tells the macabre story of a gifted young composer, Charles Jessold. On the eve of his revolutionary new opera’s premiere, Jessold murders his wife and her lover, and then commits suicide in a scenario that strangely echoes the plot of his opera—which Shepherd has helped to write. The opera will never be performed.
Shepherd first shares his police testimony, then recalls his relationship with Jessold in his role as critic, biographer, and friend. And with each retelling of the story, significant new details cast light on the identity of the real victim in Jessold’s tragedy.
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Farhad is a typical student, twenty-one years old, interested in wine, women, and poetry, and negligent of the religious conservatism of his grandfather. But he lives in Kabul in 1979, and the early days of the pro-Soviet coup are about to change his life forever. One night Farhad goes out drinking with a friend who is about to flee to Pakistan, and is brutally abused by a group soldiers. A few hours later he slowly regains consciousness in an unfamiliar house, beaten and confused, and thinks at first that he is dead. A strange and beautiful woman has dragged him into her home for safekeeping,
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After eighteen years as a political prisoner in the Bastille, the ageing Doctor Manette is finally released and reunited with his daughter in England. There the lives of the two very different men, Charles Darnay, an exiled French aristocrat, and Sydney Carton, a disreputable but brilliant English lawyer, become enmeshed through their love for Lucie Manette. From the tranquil roads of London, they are drawn against their will to the vengeful, bloodstained streets of Paris at the height of the Reign of Terror, and they soon fall under the lethal shadow of the guillotine.
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Considered by many critics to be Charles Dickens’s most psychologically acute self-portrait, Great Expectations is without a doubt one of Dickens’s most fully-realized literary creations.
Work on Great Expectations commenced in late September of 1860 at what proved to be a peak of emotional intensity for its author. Two years before, Dickens had separated from Catherine, his wife of twenty-two years, and several weeks prior to the beginning of this novel, Dickens had burned all his papers and correspondence of the past twenty years at his Gad’s Hill estate. This action, in retrospect, can be viewed as a sort of spiritual purge (think of Pip’s burnt hands/Miss Havisham on fire)—an attempt to break decisively from the past in order (paradoxically) to fully embrace it,
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It is 1176 and the King of England’s daughter is to marry the King of Sicily. As war and plague run rampant across the continent, King Henry II entrusts the life of his princess on a journey bound for Palermo to medieval forensic pathologist Adelia Aguilar, his mistress of the art of death. She is initially unwilling to accept until the Plantagenet uses Adelia’s daughter as a bartering tool, holding the child hostage until she completes the mission. A caravan is assembled including Adelia’s most treasured confidant, the Arab eunuch Mansur, her lover Rowley, and an Irish admiral, O’Donnell.
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June Han was orphaned as a girl by the Korean War. Hector Brennan was a young GI who fled the petty tragedies of his small town to serve his country. When the war ended, their lives collided at a Korean orphanage, where they vied for the attention of Sylvie Tanner, a beautiful yet deeply damaged missionary. As Lee masterfully unfurls the stunning story of June, Hector, and Sylvie, he weaves a profound meditation on the nature of heroism and sacrifice, the power of love, and the possibilities for mercy, salvation, and surrendering oneself to another.
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