WINNER OF THE NOBEL PRIZE IN LITERATURE Born into the back streets of a small Canadian town, Rose battled incessantly with her practical and shrewd stepmother, Flo, who cowed her with tales of her own past and warnings of the dangerous world outside. But Rose was ambitious - she won a scholarship and left for Toronto where she married Patrick. She was his Beggar Maid, 'meek and voluptuous, with her shy white feet', and he was her knight, content to sit and adore her. Alice Munro's wonderful collection of stories reads like a novel, following Rose's life as she moves away from her impoverished roots and forges her own path in the world.

“An exhilarating collection” (The New York Times Book Review) of ten blended stories from Nobel Prize–winning author Alice Munro “The rich texture of its narrative and the author’s graceful style make [The Beggar Maid] a considerable accomplishment.”—Joyce Carol Oates, Ms. In this vibrant series of interweaving stories, Alice Munro recreates the evolving bond—one that is both constricting and empowering—between two women in the course of almost forty years. One is Flo, practical, suspicious of other people’s airs, at times dismayingly vulgar. The other is Rose, Flo’s stepdaughter, a clumsy, shy girl who somehow—in spite of Flo’s ridicule and ghastly warnings—leaves the small town she grew up in to achieve her own equivocal success in the larger world.

“A damn good read.”—Alan Furst A brilliant debut novel, at once teasing literary thriller and a darkly comic blend of history and invention, The Torqued Man is set in wartime Berlin and propelled by two very different but equally mesmerizing voices: a German spy handler and his Irish secret agent, neither of whom are quite what they seem. Berlin—September, 1945. Two manuscripts are found in rubble, each one narrating conflicting versions of the life of an Irish spy during the war. One of them is the journal of a German military intelligence officer and an anti-Nazi cowed into silence named Adrian de Groot, charting his relationship with his agent, friend, and sometimes lover, an Irishman named Frank Pike. In De Groot’s narrative, Pike is a charismatic IRA fighter sprung from prison in Spain to assist with the planned German invasion of Britain, but who never gets the chance to consummate his deal with the devil. Meanwhile, the other manuscript gives a very different account of the Irishman’s doings in the Reich. Assuming the alter ego of the Celtic hero Finn McCool, Pike appears here as the ultimate Allied saboteur. His mission: an assassination campaign of high-ranking Nazi doctors, culminating in the killing of Hitler’s personal physician. The two manuscripts spiral around each other, leaving only the reader to know the full truth of Pike and De Groot’s relationship, their ultimate loyalties, and their efforts to resist the fascist reality in which they are caught.

Goethe, who saw so many things with such clearness of vision, brought out the charm of the popular ballad for readers of a later day in his remark that the value of these songs of the people is to be found in the fact that their motives are drawn directly from nature; and he added, that in the art of saying things compactly, uneducated men have greater skill than those who are educated. It is certainly true that no kind of verse is so completely out of the atmosphere of modern writing as the popular ballad. No other form of verse has, therefore, in so great a degree, the charm of freshness. In material, treatment, and spirit, these bat lads are set in sharp contrast with the poetry of the hour. They deal with historical events or incidents, with local traditions, with personal adventure or achievement. They are, almost without exception, entirely objective. Contemporary poetry is, on the other hand, very largely subjective; and even when it deals with events or incidents it invests them to such a degree with personal emotion and imagination, it so modifies and colours them with temperamental effects, that the resulting poem is much more a study of subjective conditions than a picture or drama of objective realities. This projection of the inward upon the outward world, in such a degree that the dividing line between the two is lost, is strikingly illustrated in Maeterlinck's plays. Nothing could be in sharper contrast, for instance, than the famous ballad of "The Hunting of the Cheviot" and Maeterlinck's "Princess Maleine." There is no atmosphere, in a strict use of the word, in the spirited and compact account of the famous contention between the Percies and the Douglases, of which Sir Philip Sidney said "that I found not my heart moved more than with a Trumpet." It is a breathless, rushing narrative of a swift succession of events, told with the most straight-forward simplicity. In the "Princess Maleine," on the other hand, the narrative is so charged with subjective feeling, the world in which the action takes place is so deeply tinged with lights that never rested on any actual landscape, that all sense of reality is lost. The play depends for its effect mainly upon atmosphere. Certain very definite impressions are produced with singular power, but there is no clear, clean stamping of occurrences on the mind. The imagination is skilfully awakened and made to do the work of observation. The note of the popular ballad is its objectivity; it not only takes us out of doors, but it also takes us out of the individual consciousness. The manner is entirely subordinated to the matter; the poet, if there was a poet in the case, obliterates himself. What we get is a definite report of events which have taken place, not a study of a man's mind nor an account of a man's feelings. The true balladist is never introspective; he is concerned not with himself but with his story. There is no self-disclosure in his song. To the mood of Senancour and Amiel he was a stranger. Neither he nor the men to whom he recited or sang would have understood that mood. They were primarily and unreflectively absorbed in the world outside of themselves. They saw far more than they meditated; they recorded far more than they moralized. The popular ballads are, as a rule, entirely free from didacticism in any form; that is one of the main sources of their unfailing charm. They show not only a childlike curiosity about the doings of the day and the things that befall men, but a childlike indifference to moral inference and justification. The bloodier the fray the better for ballad purposes; no one feels the necessity of apology either for ruthless aggression or for useless blood-letting; the scene is reported as it was presented to the eye of the spectator, not to his moralizing faculty. He is expected to see and to sing, not to scrutinize and meditate. In those rare cases in which a moral inference is drawn, it is always so obvious and elementary that it gives the impression of having been fastened on at the end of the song, in deference to ecclesiastical rather than popular feeling.

The wonderfully nostalgic, vivid and compelling new novel from the Sunday Times top five bestselling author of A Loving Family. From the age of eight, sixteen-year-old Charity Crosse has been living rough with her grandfather and begging on the streets. When he grandfather passes away, Charity is helped by a kindly doctor who introduces her to bookseller, Jethro Dawkins. Jethro takes Charity in to help in his bookshop and keep house in their one room behind the shop. Charity sleeps under the counter and is not well treated, but Jethro instills in her the love of books that began when her grandmother taught her to read. And she starts to hope for a better future for herself. But Jethro dies unexpectedly, and Charity is faced with eviction when the rent is raised by the unscrupulous landlord. Must Charity give up her dream of running the bookshop herself, and worse, be forced to return to the streets...?

A “wickedly funny” (Newsweek) collection of ten short stories from Nobel Prize–winning author Alice Munro, “one of the most eloquent and gifted writers of contemporary fiction” (Michiko Kakutani, The New York Times). “Each of her collections demonstrates such linguistic skill, delicacy of vision, and . . . moral strength and clarity.”—Chicago Tribune A woman haunted by dreams of her dead mother. An adulterous couple stepping over the line where the initial excitement ends and the pain begins. A widow visiting a Scottish village in search of her husband’s past—and instead discovering unsetting truths about a total stranger. The miraculously accomplished stories in this collection not only astonish and delight, but also convey the unspoken mysteries at the heart of all human experience. The mastery—the almost numinous ability to say the unsayable—makes Friend of My Youth a genuine literary event.

A startlingly original work establishing the impact of domestic servants on the life and writings of Emily Dickinson

WINNER OF THE NOBEL PRIZE© IN LITERATURE 2013 A New York Times Notable Book A Washington Post Notable Work of Fiction A Best Book of the Year: The Atlantic, NPR, San Francisco Chronicle, Vogue, AV Club In story after story in this brilliant new collection, Alice Munro pinpoints the moment a person is forever altered by a chance encounter, an action not taken, or a simple twist of fate. Her characters are flawed and fully human: a soldier returning from war and avoiding his fiancée, a wealthy woman deciding whether to confront a blackmailer, an adulterous mother and her neglected children, a guilt-ridden father, a young teacher jilted by her employer. Illumined by Munro’s unflinching insight, these lives draw us in with their quiet depth and surprise us with unexpected turns. And while most are set in her signature territory around Lake Huron, some strike even closer to home: an astonishing suite of four autobiographical tales offers an unprecedented glimpse into Munro’s own childhood. Exalted by her clarity of vision and her unparalleled gift for storytelling, Dear Life shows how strange, perilous, and extraordinary ordinary life can be.

A complex tale of alienation and despair. Unable to achieve psychological renewal in the aftermath of Nasser's revolution, a man sacrifices his work and family to a series of illicit love affairs that intensify his feelings of estrangement. A passionate outcry against irrelevance.