A spring night in Paris. The most beautiful city in the world is dark and silent. Uncertainty devils the air. As does normality: War time normality. The Nazi flag flutters from the Eiffel Tower. The Parisians are huddled indoors. Suddenly the night's stillness is shattered by sirens and excited voices. For days foul smoke has been pouring from the chimney of an uninhabited house close to the Avenue des Champs-Elyses. Police and fire fighters are racing to the house to break down the bolted door. They make a spine-chilling discovery. The remains of countless human beings are being incinerated in a furnace in the basement. In a pit in an outhouse quicklime consumes still more bodies. Neighbors say they hear banging, pleading, sobbing and cries for help come from the house deep into night. They say a shabbily-dressed man on a green bike pulling a cart behind him comes to the house, always at dawn, or dusk. The house belongs to Dr. Marcel Petiot - a good-looking, charming, caring, family physician who lives elsewhere in the city with his wife and teenage son. Is he the shabbily-dressed man on the green bike? If so, what has he to say about the bodies?

How to Die in Paris is an edgy, poetic, often darkly comic, memoir of a young middle-class black woman who escapes a tortured past in New York to pursue a new life in Europe—only to find herself broke, desperate, and contemplating suicide on the streets of Paris. Penniless, scared, and hoping for rescue, Thomas turns to a series of unlikely male suitors: an impoverished Italian who exposes her to the reality of immigrant struggle, a fast-talking squatter who lures her into Paris’s street youth culture, and a beautiful Tunisian who takes her home . . . only to introduce her to a world of pain. Each encounter awakens in her memories from her childhood-memories of the abuse and racism she experienced at the hands of her mother—and forces her to confront the darkness in her past, even as she struggles to survive in the present. Though the trials she faces in Paris are often harrowing, Thomas is anything but self-pitying, often culling humor from gritty moments, and she finds goodness in the small blessings that come her way: a library that offers warmth and escape, a sandwich abandoned in a phone booth, the generosity of strangers, and especially, the wonder of Paris itself. Ultimately, being homeless in the City of Light frees her of the denial and defenses that have been holding her back all her life-revealing a broader world too beautiful to leave.

A Foreign Affairs Best Book of the Year Winner of the AATSEEL Prize for Best Book in Cultural Studies Winner of the Laura Shannon Prize in Contemporary European Studies Winner of the Marshall D. Shulman Book Prize Winner of the Wayne S. Vucinich Book Prize The Soviet Union was a notoriously closed society until Stalin’s death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West. At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss. Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings. With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd’s history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.

Paris. The beauty. The grime. The colours and thoughts and songs and sounds and children and dogs. The taste of strawberries, the sky, first métro, last métro, the bells, the dreams … The city of light, it seems, has its own plans for Jayne. Drawn there in an entirely unforeseen way, she finds herself in a vibrant and dizzying neighbourhood, living in a former monastery, studying at a famous theatre school, falling in love with a Frenchman too beautiful to be real. She will forget her past and disappear into the culture if it kills her. And one strange night, it nearly does. Sharp, funny and unflinchingly honest, Jayne Tuttle’s writing lifts you off the page and into a Paris far beyond the postcards. Paris or Die is a headlong plunge into not just life in Paris, but life itself.

Young Jacqueline Bouvier's first CIA assignment was supposed to be simple: Meet with a high-ranking Russian while he's in Paris and help him defect. But when the Comrade ends up dead, and Jackie barely escapes his killer, it's time to get some assistance.

The gripping true story of a brutal serial killer who unleashed his own reign of terror in Nazi-occupied Paris. Dr. Marcel Petiot was eventually charged with 27 murders, although authorities suspected the total was considerably higher. The trial became a circus, and Petiot enjoyed the spotlight. A harrowing exploration of murder, betrayal, and evil of staggering proportions.

A charming series debut featuring two American sleuths in Paris, Death in Paris is a perfect traditional mystery for fans of M. L. Longworth and Juliet Blackwell. The only thing chillier than a Parisian winter is cold-blooded murder. When French financier Edgar Bowen drowns in a bowl of soup, his former girlfriend, American Rachel Levis, is alarmed by the unnatural death. Who dies eating a nice vichyssoise? But when she overhears a mourner at his funeral describing the circumstances of his death, something sounds even stranger: a bottle of rosé was on the dining table when he died. The only problem: Edgar loathed rosé. If he wasn’t drinking it, who was? After the police rule the death accidental, Rachel knows it’s up to her and her best friend Magda to investigate. As the two Americans immerse themselves in Edgar’s upper-class world, the list of suspects grows: Could it have been his son, who inherited his money and lavish apartment? His icy ex-wife? His greedy new girlfriend? His impoverished personal assistant? But when the suspects start dropping like flies, Rachel and Magda realize the murderer is tying up loose ends. It’ll be up to two amateur sleuths to solve their first case before the murderer decides they’re next...

In 1995, Adam Gopnik and his wife, and their infant son left the familiar comforts and hassles of New York for the urbane glamour of Paris. Charmed by the beauties of the city, Gopnik set out to experience for himself the spirit and romance that has so captivated American writers throughout the Twentieth century. In the grand tradition of Stein and Hemingway, Gopnik planned to walk the paths of the Tuilleries, to enjoy philosophical discussion in cafes in short, to lead the fabled life of an American in Paris. Of course, as readers of Gopnik's beloved 'Paris Journals' in the New Yorker know, there was also the matter of raising a child and carrying on with everyday, not so fabled life. Evenings with French intellectuals precede middle-of-the night baby feedings; afternoons are filled with trips to the Musee d'Orsay and pinball games; weekday leftovers are eaten while three star chefs debate a 'culinary crisis'. With singular wit and insight, Gopnik manages to weave the magical with the mundane in a wholly delightful book.

The first novel available to English readers by Fawzia Zouari, one of the most important North African authors writing today, begins with an emergency crew’s arrival at a Parisian apartment. Two emaciated young women, sisters, are brought out on stretchers. To the crowd of onlookers the women’s condition is mystifying; for the two sisters, this is the inescapable end to a tragic series of events. Inspired by an actual news story from the French headlines, I Die by This Country introduces us to Nacéra and Amira. Casting her mind back in the midst of the opening pages’ upheaval, Nacéra pieces together her fragmentary knowledge of her parents’ lives in rural French Algeria and their immigration to Paris in the years following Algeria’s war for independence. Her memories of how both she and Amira struggled to find their place as children of immigrants reveals the enormous stress of social exclusion and identity conflicts facing immigrant youth. Nacéra and her family yearn for acceptance, but the reader sees this dream becoming increasingly unattainable. Zouari’s frank prose and penetrating storytelling deftly relates the multigenerational experience of Franco-Algerian immigration during the last quarter of the twentieth century. As France continues, like so many western countries, to struggle with questions regarding national identity, immigration, and its colonial past, the experiences depicted in this novel resonate more than ever.