Written in the early 1920s, Lights of Bohemia is set in the twilight phase of Madrid's bohemian artistic life against the turbulent social and political background of events between 1900 and 1920.

Written in the early 1920s, Lights of Bohemia is set in the twilight phase of Madrid's bohemian artistic life against the turbulent social and political background of events between 1900 and 1920.

Inspired by the similarities between human existence and the seasons, Ramón del Valle-Inclán created 4 modernist stories known as the Sonatas tetralogy. From that highly regarded series comes this 1904 masterpiece. It chronicles a Don Juan's passion for a beguiling young aristocratic woman who intends to take the veil. The only available dual-language edition.

Publisher Description

There follows an up-to-date bibliography of the plays, from editions contemporary with the author through those published posthumously; it includes translations of the dramas into many languages, as well as a selection of critical studies worldwide."--Jacket.

From the NEW YORK TIMES Bestselling author, a gripping murder mystery about a serial killer on the loose in San Francisco. Indiana Jackson is 33 years old and works in an alternative medicine clinic in San Francisco that attracts all sorts of characters, some of them skeptics, who fall for her candor and humility. Her teenage daughter, Amanda likes noir literature and hopes to attend MIT, where she will be with Bradley, an old friend that she plans to marry, with or without his consent. In her free time, she plays Ripper, an online role playing game that involves solving real-life mysteries and crimes using information collected by Amanda’s father, the Chief Inspector of the San Francisco police. Amanda plays the game via Skype with adolescents from all over the world and with her best friend, her grandfather Blake. Each player in the game has a virtual personality: Amanda is the game master, and Blake is her henchman; the others are Sherlock Holmes, Colonel Paddington, Esmeralda, and the psychic Abatha. When Ripper’s latest murder mystery-”the case of the misplaced bat”-begins to touch their real-world lives, Amanda and her friends know they must solve the case and find the murderer before he can strike again. RIPPER is a true thriller, with the twists, surprises, well-placed clues, and revelations that lead to a climatic finale. A rich and generous novel, filled with humor but increasingly dark, it’s a fast-paced read that grabs you right from the start and keeps you glued to the page.

Octavio Paz launches a far-ranging excursion into the "incestuous and tempestuous" relations between modern poetry and the modern epoch. From the perspective of a Spanish-American and a poet, he explores the opposite meanings that the word "modern" has held for poets and philosophers, artists, and scientists. Tracing the beginnings of the modern poetry movement to the pre-Romantics, Paz outlines its course as a contradictory dialogue between the poetry of the Romance and Germanic languages. He discusses at length the unique character of Anglo-American "modernism" within the avant-garde movement, and especially vis- -vis French and Spanish-American poetry. Finally he offers a critique of our era's attitude toward the concept of time, affirming that we are at the "twilight of the idea of the future." He proposes that we are living at the end of the avant-garde, the end of that vision of the world and of art born with the first Romantics.

Published by Boydell & Brewer Inc.

For any play originating in a different culture and society to be favourably received in English translation, timing and other factors of reception are often as important as the purely linguistic aspects. This book focuses on the problems of reception and translation into English encountered by European playwrights now regularly staged at British theatres, such as Ibsen, Strindberg, Chekhov, Brecht, Anouilh, Lorca and Pirandello, among others. Introduced by discussions highlighting different approaches to translation in general and the difficulties inherent in the translation of drama in particular, the book concludes by looking at what is lost in translation and the means by which adaptions and new versions may help to restore the balance.