A multidisciplinary index covering the journal literature of the arts and humanities. It fully covers 1,144 of the world's leading arts and humanities journals, and it indexes individually selected, relevant items from over 6,800 major science and social science journals.

Count d'Orgel is handsome, charming, and carefree, a model of cool aristocratic aplomb. His wife, the Countess, is beautiful and pure and loves her husband more than anything in the world. But from the moment the d'Orgels meet and befriend the clever young François de Séryeuse backstage at the circus, all three of these supremely civilized and witty people are caught up in an ever more intricate and seductive dance of deception and self-deception. At Count d'Orgel's masquerade ball, the real disguises are those of the human heart. Completed just before Raymond Radiguet's death at the age of twenty, Count d'Orgel's Ball is a love story that is as disturbing as it is delicious.

A seminal work of great force, Count d'Orgel is a study of a three-sided relationship set in Paris after the First World War. John Bayley wrote that Radiguet is wholly in debt to the great French masters of economy and polished observation. His avowed intention was to create a picture of the beau monde as comprehensive as Proust's but far more taut and lapidary. In great measure he succeeded. The tale is certainly a masterpiece, one attempted and achieved by a young man of nineteen who was on his deathbed before it was published. Notes written by Jean Cocteau, Radiguet's mentor, are reprinted in this edition.

Bad Kitty's in a bad mood . . . a very bad mood, and Puppy is not helping. Enter Uncle Murray, who's tasked with taking care of Puppy for the day, but that's when the trouble begins. When they go on a walk through the park, Uncle Murray almost gets himself arrested while Puppy ends up in the pound, where he meets some very peculiar new pals.