Phoenix Fiction Series PF – serie

Nathan, a blind Jewish scribe, tells the story of the coming of the Messiah in the person of one Simon Stern—from his birth on the Lower East Side, through his career as a millionaire dealer in real estate, to his building of a refuge for the Jewish remnant of World War II."A majestic work of fiction that should stand world literature's test of time, to be read and reread. A masterpiece."—Commonweal "This book ensnares one of the most extraordinarily daring ideas to inhabit an American novel in a number of years. For one thing, it is that risky devising, dreamed of only by the Thomas Manns of the world, a serious and vastly conceived fiction bled out of the theological imagination. For another, it is clearly an 'American' novel—altogether American, despite its Jewish particularity: it is not so much about the history of the Jews as it is about the idea of the New World as haven. . . . In its teeming particularity every vein of this book runs with a brilliance of Jewish insight and erudition to be found in no other novelist. Arthur Cohen is the first writer of any American generation to compose a profoundly Jewish fiction on a profoundly Western theme."—Cynthia Ozick, New York Times Book Review"This stately, ambitious amalgam of Jewish myth, history, theology, and speculations on the Jewish soul is like an enormous Judaic archeological ruin—often hard for the uninitiated to interpret, but impressive. . . . Intelligent, inventive, fascinating."—New Yorker

Spurned by his first love, Homi Seervai, the Parsi genius from Bombay, creates a machine that lets him scan his brain for memories of the time he spent with her. The machine malfunctions, propelling him instead into his collective unconscious where he encounters ancestors and relatives, both dead and alive. In this wildly inventive book—available for the first time in the United States—Homi, blessed with the memory of elephants, discovers the splendor of his heritage as well as hope for the future.

Jean Dutourd's A Dog's Head is a wonderful piece of magical realism, reminiscent of Voltaire, Borges and Kafka. With biting wit, Dutourd presents the story of Edmund Du Chaillu, a boy born, to his bourgeois parents's horror, with the head of a spaniel. Edmund must endure his school-mate's teasing as well as an urge to carry a newspaper in his mouth. This is the story of his life, trials, and joys as he searches for a normal life of worth and love. "Dutourd is a fine craftsman, whose work has the classic virtues of brevity, lucidity, and concentration. He has written a sardonic divertissement that concerns itself with fundamental problems of man's existence-a tale that is sad-eyed, witty, and often very funny."--Charles J. Rolo, New York Times Book Review "A tiny masterpiece in the French classical tradition...Stylish, elegant and witty, and told with an apparent lightheartedness that points to rather than obscures the hero's essential tragedy."--P. L. Travers, New York Herald Tribune "Wit, a good deal of shrewd classical allusion, and a Voltarian satire are the book's assets."--Edmund Fuller, Chicago Tribune "The work of an expert craftsman and of a careful writer of prose, ending with the rarest gift in modern letters: the comic spirit."--Henri Peyre, The Saturday Review "Dutourd might well have dropped his story at this point, had it been his intention simply to excoriate the human race for its treatment of those who are physically afflicted. Instead, he presses on in his terse, deadpan prose to teach a lesson to the afflicted of the world as well."--Time "A Dog's Head is one of the most curious, most beautifully conceived and written fantasies you've ever come across."--J. H. Jackson, San Francisco Chronicle "A Dog's Head is an excellent joke in the worst possible taste, and its author, M. Jean Dutourd, is a satirist of the first rank."--New Yorker

"A brilliant achievement. . . .Like the best work of Greene and Le Carré, it is more than genre fiction; it is literature. . . .[Convergence] is the most plausible, and perhaps the best spy novel ever written by an American." —Arthur Maling, Chicago Tribune"An intelligent, readable novel about two kinds of intrigue—international and bureaucratic. He succeeds admirably at both tasks."—Ross Thomas, Washington Post"A solid, provocative first novel about the 'deadly game of espionage' . . . Thoughtfulness and human frailty take precedence over action and suspense. Irony is the prevailing mode. . . . Fuller depicts intelligence work—its technical minutiae and its vaunted goals—convincingly. And he subtly weaves various parallels into complementary layers of potential convergence."—Jeffrey Burke, Wall Street Journal"A fast-moving, dramatic, thinking person's spy novel."—Nelson DeMille, Newsday

Fragments is a story about how war can make everything explosive--even love--and how two friends try to put the pieces of their lives together again. "[Fragments] makes the usual semi-autobiographical account [of the Vietnam War] ...seem flimsy and discursive in comparison...The shapeliness and sense of larger design [is] so elegantly executed in Fragments."--Michiko Kakutani, New York Times "The plot is believable, the characters sharply drawn, the prose clean and distinctive...Stand[s] with Tim O'Brien's Going After Cacciato, James Webb's Fields of Fire, Josiah Bunting's The Lionheads and John Del Vecchio's The 13th Valley...A strong, compelling novel."--Marc Leepson, Washington Post "There have been many books on Vietnam, and there will be many others. This is more a novel than the rest...Fuller has reassembled the exploded grenade."--Bob MacDonald, Boston Sunday Globe "Should our children ask about Vietnam, we would not go wrong to place this book in their hands...[Fragments] purveys more than information--it gives the war a literary form."--David Myers, New York Times "The best novel yet about the Vietnam War...It ranks with Norman Mailer's The Naked and the Dead and James Jones's From Here to Eternity."--Daniel Kornstein, Wall Street Journal

Beneath the unassuming surface of a progressive women's college lurks a world of intellectual pride and pomposity awaiting devastation by the pens of two brilliant and appalling wits. Randall Jarrell's classic novel was originally published to overwhelming critical acclaim in 1954, forging a new standard for campus satire - and instantly yielding comparisons to Dorothy Parker's razor-sharp barbs. Like his fictional nemesis, Jarrell cuts through the earnest conversations at Benton College mischievously - but with mischief nowhere more wicked than when crusading against the vitriolic heroine herself.

The Conquerors describes the struggle between the Kuomintang and the Communists in the Cantonese revolution of the 1920s. It is both an exciting war story and a gallery of intellectual portraits: a ruthless Bolshevik revolutionary, a disillusioned master of propaganda, a powerful Chinese pacifist, and a young anarchist. Each of these "conquerors" will be crushed by the revolution they try to control. In a new Foreword, Herbert R. Lottman discusses the political background of the book, and the extent to which Malraux invented the history he wrote about. "[The Conquerors] is a valuable introduction to Malraux himself, who would, like his fictional counterpart, become an analgam of talents as novelist, essayist, Leftist and Gaullist, Resistance hero and art critic. He was among the most 'universal' of French men of letters."—Choice "The novel can be enjoyed as a remarkable work of modernism. With images derived from the silent cinema and prose from the telegraph, it moves at a tremendous pace. Canton all comes to violent life, seen as though from a speeding car."—Kirkus "No other writer of the 20th century had the same capacity to translate his personal adventure into a meeting with history and a dialogue of civilization."—Carlos Fuentes, New York Times Book Review

Moving from Massachusetts to Kansas in 1855 with his new wife and a group of German carpenters, Gordon McKay is dead set on making his fortune raising bees—undaunted by Missouri border ruffians, newly-minted Darwinism, or the unsettled politics of a country on the brink of civil war.

Featuring sixty-three stories spanning five decades, this superb collection-including "Girls in Their Summer Dresses," "Sailor Off the Bremen," and "The Eighty-Yard Run"-clearly illustrates why Shaw is considered one of America's finest short-story writers.

The Young Lions is a vivid and classic novel that portrays the experiences of ordinary soldiers fighting World War II. Told from the points of view of a perceptive young Nazi, a jaded American film producer, and a shy Jewish boy just married to the love of his life, Shaw conveys, as no other novelist has since, the scope, confusion, and complexity of war.

In midcentury America, the golden age of television, a man named Golk is wreaking havoc with the medium. Through a devastating series of exposures—"You're on Camera"—Golk manipulates the high and mighty, the lowdown and dirty, and the outrageous weird; all are within the compass of Richard Stern in this early novel, a comedy with as many inspired maneuvers as its rambunctious protagonist has for taking the measure of a profligate world. "Golk is a rich and marvelously detailed novel by a man with a cultivated intelligence; it is also the first really good book I have read about television."—Norman Mailer "An original: sharp, funny, intelligent, rare. . . . Working in a clean, oblique style reminiscent of Nathanael West, Mr. Stern has written in Golk a first-rate comic novel, a piece of fiction that is at once about and loaded with that kind of recognition that junkies call the flash."—Joan Didion, National Review "Golk is fantastic, funny, bitter, intelligent without weariness. Best of all Golk is pure—that is to say necessary. Without hokum."—Saul Bellow "Golk (like Golk himself) is a wonderous conception. Its world responds to personification, not analysis, and personify it Mr. Stern has done. A book in a thousand."—Hugh Kenner "What I like about Mr. Stern's fantasy is that it has been conceived and written with so much gaiety. Far from a political melodrama, it reminds me of a René Clair movie, and even the surrealist touches needed to bring out the power and pretense of the television industry are funny rather than symbolically grim."—Alfred Kazin, Reporter "A mighty good book, altogether alive, full of beans and none of them spilled."—Flannery O'Connor