A woman's version of Thoreau's Walden, this universal, timeless book explores the philosophical and psychological issues of self-identity--equally relevant to men and women today. Companion volume to the simultaneously released follow-up novel The Stations of Solitude.

A Note on the Captions Preface Introduction 1: Naughty Orators: Negation of Voices in Gaslight 2: Psychoanalysis and Cinema: Moments of Letter from an Unknown Woman3: Ugly Duckling, Funny Butterfly: Bette Davis and Now, Voyager 4: Postscript: To Whom It May Concern 5: Stella's Taste: Reading Stella Dallas Notes Bibliography Filmography Index Copyright © Libri GmbH. All rights reserved.

These four Stefan Zweig stories, newly translated by the award-winning Anthea Bell, are among his most celebrated and compelling work. The titular tale is a devastating depiction of unrequited love, which inspired a classic Hollywood film, directed by Max Ophüls and starring Joane Fontaine. Elsewhere in the collection, a young man mistakes the girl he loves for her sister, two erstwhile lovers meet after an age spent apart, and a married woman repays a debt of gratitude to her childhood sweetheart. Expertly paced, laced with the acutely accurate psychological detail and empathy that are Zweig's trademarks, this is a powerful addition to Pushkin's growing collection of his work.

In a spellbinding new masterpiece by #1 New York Times bestselling author Daniel Silva, Gabriel Allon undertakes a high-stakes search for the greatest art forger who ever lived Legendary spy and art restorer Gabriel Allon has at long last severed ties with Israeli intelligence and settled quietly in Venice, the only place where he has ever truly known peace. His beautiful wife, Chiara, has taken over the day-to-day management of the Tiepolo Restoration Company, and their two young children are discreetly enrolled in a neighborhood scuola elementare. For his part, Gabriel spends his days wandering the streets and canals of the watery city, bidding farewell to the demons of his tragic, violent past. But when the eccentric London art dealer Julian Isherwood asks Gabriel to investigate the circumstances surrounding the rediscovery and lucrative sale of a centuries-old painting, he is drawn into a deadly game of cat and mouse where nothing is as it seems. Gabriel soon discovers that the work in question, a portrait of an unidentified woman attributed to Sir Anthony van Dyck, is almost certainly a fiendishly clever fake. To find the mysterious figure who painted it—and uncover a multibillion-dollar fraud at the pinnacle of the art world—Gabriel conceives one of the most elaborate deceptions of his career. If it is to succeed, he must become the very mirror image of the man he seeks: the greatest art forger the world has ever known. Stylish, sophisticated, and ingeniously plotted, Portrait of an Unknown Woman is a wildly entertaining journey through the dark side of the art world—a place where unscrupulous dealers routinely deceive their customers and deep-pocketed investors treat great paintings as though they were just another asset class to be bought and sold at a profit. From its elegant opening to the shocking twists of its climax, the novel is a tour de force of storytelling and one of the finest pieces of heist fiction ever written. And it is still more proof that, when it comes to international intrigue and suspense, Daniel Silva has no equal.

Originally published: Great Britain: Piatkus, 2012.

In the late autumn of 1889, the body of an unknown woman appeared on the banks of the Seine River in Paris. It was taken to the city morgue behind Notre Dame and put on display for a month, according to protocol. The eerie beauty of the young woman's expression attracted crowds but no claimant, and so, before the body was dispatched, a mold was taken of the face, yielding a mask which was to become one of the most celebrated cult objets/curios of the 20th century. Set during the final days of the Paris expo of 1889, Brooks Hansen's The Unknown Woman of the Seine sets out to solve the mystery of who the woman was behind the mask. In charge of that investigation is a former Gendarme and recent prisoner of war just returned from Tonkin, China. Henri Brassard is on his way to Paris, determined to reclaim his place in La Force when he crosses paths with a mysterious and unnamed young maiden and her gypsy wagon. Detecting villainy, and bent on proving himself to his former superiors, Brassard tracks her into the city and observes from the shadows as, with evident but inscrutable purpose, she wends her way into the orbit of several savory and unsavory characters--an Artist, an Impresario, a Madame, a Countess, and one Disciple even--each of whom sees in her some opportunity, a chance for profit or redemption; any one of whom may therefore be responsible for her sudden and unexplained disappearance. On that account, Brassard's chase will lead him on a grand tour of the city's lushest and seamiest venues, from its highest spires down into its darkest, dankest catacombs and past a gallery of equally diverse crimes--the moral, the political, the maniacal. By the end, he will, in fact, learn the stunning truth of the unknown woman's true identity, her past and present, but not before unearthing the equally disturbing truth about himself, who he has been, and who he must become.

The year is 1527. Hans Holbein is at the beginning of his career when he travels to England under the patronage of Sir Thomas More. As a guest in the splendid More household, he begins to paint their family portrait. The Holbein family portraits frame this story with its background of love, family, and political turmoil.

The Drowned Muse is a study of the extraordinary destiny, in the history of European culture, of an object which could seem, at first glance, quite ordinary in the history of European culture. It tells the story of a mask, the cast of a young girl's face entitled "L'Inconnue de la Seine," the Unknown Woman of the Seine, and its subsequent metamorphoses as a cultural figure. Legend has it that the "Inconnue" drowned herself in Paris at the end of the nineteenth century. The forensic scientist tending to her unidentified corpse at the Paris Morgue was supposedly so struck by her allure that he captured in plaster the contours of her face. This unknown girl, also referred to as "The Mona Lisa of Suicide", has since become the object of an obsessive interest that started in the late 1890s, reached its peak in the 1930s, and continues to reverberate today. Aby Warburg defines art history as "a ghost story for grown-ups." This study is similarly "a ghost story for grown-ups", narrating the aura of a cultural object that crosses temporal, geographical, and linguistic frontiers. It views the "Inconnue" as a symptomatic expression of a modern world haunted by the earlier modernity of the nineteenth century. It investigates how the mask's metamorphoses reflect major shifts in the cultural history of the last two centuries, approaching the "Inconnue" as an entry point to understand a phenomenon characteristic of 20th- and 21st-century modernity: the translatability of media. Doing so, this study mobilizes discourses surrounding the "Inconnue", casting them as points of negotiation through which we may consider the modern age.