In the her tenth collection (the title story of which is the basis for the new film Hateship Loveship), Alice Munro achieves new heights, creating narratives that loop and swerve like memory, and conjuring up characters as thorny and contradictory as people we know ourselves.
A tough-minded housekeeper jettisons the habits of a lifetime because of a teenager’s practical joke. A college student visiting her brassy, unconventional aunt stumbles on an astonishing secret and its meaning in her own life. An incorrigible philanderer responds with unexpected grace to his wife’s nursing-home romance.
Hateship, Friendship, Courtship, Loveship, Marriage is Munro at her best, tirelessly observant, serenely free of illusion, deeply and gloriously humane.

In these piercingly lovely and endlessly surprising stories by one of the most acclaimed current practitioners of the art of fiction, many things happen: there are betrayals and reconciliations, love affairs consummated and mourned.

《唐宋史料笔记:老学庵笔记(繁体竖排版)》内容简介：学庵的一首诗（见剑南诗稿卷五十）。老学庵的命名，大约在淳熙之末（一一九○年），陆游退居故乡山陰（今浙江绍兴镜湖以后］。庵在镜湖边上，只有茅屋两间，但背绕青山，面临碧水［二］，对诗人来说，倒也是个读书写作的好地方。陆游又自叙其老学庵命名之义，说是“取师旷”老而学如秉燭夜行”之语”（剑南诗稿卷三十三老学庵诗自注）。他的老学庵笔记当是这一时期的作品，可能有些条目写於在这之前，但最终的完成，应在镜湖边上闭门读书之时，否则不会以老学庵作为书名的。陆游的幼子陆子遹说：“老学庵笔记，先太史淳熙、绍熙间所著也［三］。”这话大抵是可靠的。
陆游是著名的诗人，也是见识广博的学者。会稽续志说他“学问该贯，文辞超迈，酷喜为诗，其他志铭记叙之文，皆深造三味；尤熟识先朝典故沿革、人物出处：以故聲名振耀当世”。在陆游众多的著作中，老学庵笔记所佔的比重虽然不大，但书中所记，多是作者亲历、亲见、亲闻之事，内容豊富，颇有参考价值。其中，有关抗金活动的记载较多，如卷一记宋高宗赵构“维扬南渡时，虽甚仓猝，二府犹张盖搭狨坐而去，军民有怀甎狙击黄相者”，卷二记殿前司军人施全刺杀秦桧，又记民间画家赵广宁愿被斩断右手拇指，也不愿为金军绘画遭擄掠的宋朝妇女，又记在金人佔领区内，有一个在原宋都开封卖炒栗子出名的平民李和，他的儿子冒着危险向南宋派往金廷的使臣挥泪进献炒栗子等条，反映了人民群众的爱国热忱、抗金情绪，以及对南宋统治集围中投降派的强烈愤恨。对於秦桧的揭露，如卷一记秦桧“杀岳飞於临安获中，都人皆涕泣”，又一条记秦桧“当国，数以言罪人，势焰可畏”，卷三记秦桧的“十客”，卷二记宋汴讽刺秦桧所为是“去不得的勋业”，卷八记秦桧专權忮刻，卷二、卷三、卷五分别记载秦桧的儿子秦熺及孙女的仗势欺人，强横霸道等等。对於农民起义，如卷三记童贯镇尘方臘起义时买卖官爵，卷九记王小皤（波）、李顺起义的经过，有助於对农民起义的开究。笔记中还有大量的篇幅，记有关当时的名物典章制度和各種逸闻趣事，则有助於对文化史的研究。另外，陆游的山会诗话没有传下来，笔记中还保存一些有关诗论的材料，可以见出他的一些作诗主张。对於老学庵笔记，前人有过不少好的评价，陈振孙直齐书录解题说陆游“生识前辈，年及耄期，所记所闻，殊可观也。四库总目提要说笔记“轶闻舊典，往往足备考证”。李慈铭越缦堂读书记说它“雜述掌故，间考舊文，俱为谨严，所论时事人物，亦多平允”。这些话，並不过分。总之，内容豊富，態度严肃，资料性强，是这本笔记的特点。在宋人的笔记之中，它可列入佼佼者的行列。

《夜航船》不是高深莫测的古书，而是用浅白的文言讲说的四千多个文化段子，绝大多数是作为一个正常人，或者往雅处说，作为一个有文化的人，必须知道的社科知识。极少量虽然可以说有荒诞不经的意味，但作为古人的情趣笑谈也尝不可以看看。
天下学问，惟夜航船中最难对付。盖村夫俗子，其学问皆预先备办，如瀛洲十八学士、云台二十八将之类，稍差其姓名，辄掩口笑之。彼盖不知十八学士、二十八将，虽失记其姓名，实无害寺学问文理，而反谓错落一人，则可耻孰甚。故道听途说，只办口头数十个名氏，便为博学才子矣。余因想吾八越，惟余姚风俗，后生小子无不读书，及至二十无成，然后习为手艺。故凡百工贱业，其《性理》、《纲鉴》，皆全部烂熟。偶问及一事，则人名、官爵、年号、地方枚举之，未尝少错。学问之富，真是两脚书厨，而其无益于文理考校，与彼目不识丁之人无以异也。或曰：信如此言，则古人姓名总不必记忆矣。余曰：不然，姓名有不关于文理，不记不妨，如八元、八恺、厨、俊、顾、及之类是也；有关于文理者，不可不记，如四岳、三老、臧彀、徐夫人之类是也。昔有一僧人，与一士子同宿夜航船。士子高谈阔论，僧畏慑，拳足而睡。僧人听其语有破绽，乃曰：请问相公，澹台灭明是一个人、两个人？士子曰：是两个人。僧曰：这等尧舜是一个人、两个人？士子曰：自然是一个人。僧乃笑曰：这等说起来，且待小僧人伸伸脚。余所记载，皆眼前极肤浅这事，吾辈聊且记取，但勿使僧人伸脚则可已矣。故即命期名曰《夜航船》。古剑陶庵老人张岱书。

Winner of the Prix Goncourt
In this strange, elegant novel, winner of France's premier literary prize, Patrick Modiano portrays a man in pursuit of the identity he lost in the murky days of the Paris Occupation, the black hole of French memory.
For ten years Guy Roland has lived without a past. His current life and name were given to him by his recently retired boss, Hutte, who welcomed him, a onetime client, into his detective agency. Guy makes full use of Hutte's files - directories, yearbooks, and papers of all kinds going back half a century - but his leads are few. Could he really be the person in that photograph, a young man remembered by some as a South American attaché? Or was he someone else, perhaps the disappeared scion of a prominent local family? He interviews strangers and is tantalized by half-clues until, at last, he grasps a thread that leads him through the maze of his own repressed experience.
On one level Missing Person is a detective thriller, a 1950s film noir mix of smoky cafés, illegal passports, and insubstantial figures crossing bridges in the fog. On another level, it is also a haunting meditation on the nature of the self. Modiano's sparce, hypnotic prose, superbly translated by Daniel Weissbort, draws his readers into the intoxication of a rare literary experience. (Verba Mundi)

《卡拉马佐夫兄弟》是俄国大作家陀思妥耶夫斯基的最后一部长篇小说。它是根据一桩真实的弑父案写成的。书中主要人物为旧俄外省地主卡拉马佐夫和他的儿子：德米特里、伊凡、阿辽沙及私生子斯麦尔佳科夫。老卡拉马佐夫在行将就木之年仍贪婪、好色，不仅霸占妻子留给儿子们的遗产，而且还与长子德米特里为一个女人争风吃醋。德米特里对父亲恨之入骨，一再扬言要杀死他，并且有一天夜晚真地闯到父亲的窗下，掏出了凶器……是夜老卡拉马佐夫被杀死了，德米特里因而被拘捕。可实际上，真正的弑父者并不是德米特里，而是斯麦尔佳科夫。他是在伊凡“既然没有上帝，则什么都可以做”的“理论”鼓动下，为发泄自己在长期卑屈处境下郁积起来的怨毒情绪，为取得金钱，冷酷地谋杀了自己的父亲。事情的结局是悲惨的：德米特里无辜被判刑，斯麦尔佳科夫畏罪自杀，伊凡因内咎自责而精神错乱，阿辽沙撇家远行。这一“偶合家庭”崩溃了，它成为分崩离析的沙皇专制社会的一个缩影。

Book Description
It seems unthinkable that Charles Strickland, the dull, bourgeois city gent, would have the tortured soul of a genius. Yet Strickland is driven to abandon his home, wife, and children to devote himself slavishly to painting. In a tiny studio in Paris he fills canvas after canvas, refusing to sell or even exhibit his work. Beset by poverty, sickness, and his own intransigent nature, he drifts to Tahiti, where, even after being blinded by leprosy, he produces some of his most extraordinary works of art. First published in 1919 and inspired by the life of Paul Gauguin, The Moon and Sixpence is a study of a man possessed by the need to create - regardless of the cost to himself or others.
Book Dimension
length: (cm)19.7 　　　 　　　　　 　　　　　 width:(cm)12.8

小说的主人公是一位自称名叫田村卡夫卡——作者始终未交代其真名——的少年。他在十五岁生日前夜独自离家出走，乘坐夜行长途巴士远赴四国。出走的原因是为了逃避父亲所作的比俄底浦斯王还要可怕的预言：尔将弑父，将与尔母、尔姐交合。卡夫卡四岁时，母亲突然失踪，带走了比卡夫卡年长四岁、其实是田村家养女的姐姐，不知何故却将亲生儿子抛弃。他从未见过母亲的照片，甚至连名字也不知道。仿佛是运命在冥冥之中引导，他偶然来到某私立图书馆，遂栖身于此。馆长佐伯女士是位四十多岁气质高雅的美妇，有着波澜曲折的神秘身世。卡夫卡疑心她是自己的生母，佐伯却对此不置可否。卡夫卡恋上了佐伯，并与之发生肉体关系。小说还另设一条副线，副线的主角是老人中田，他在二战期间读小学时，经历过一次神秘的昏迷事件，从此丧失了记忆，将学过的知识完全忘记，甚至不会认字计数，却获得了与猫对话的神秘能力。中田在神智失控的情况下杀死了一个自称焦尼·沃卡（Johnny Walker）、打扮得酷似那著名威士忌酒商标上所画的英国绅士的狂人，一路搭车也来到此地。小说共分49章，奇数章基本上用写实手法讲述卡夫卡的故事，偶数章则用魔幻手法展现中田的奇遇。两种手法交互使用，编织出极富强烈虚构色彩的、奇幻诡诘的现代寓言。佐伯是将这两个故事联结为一体的结合点，而弑父的预言似乎最终也未能避免，因为狂人焦尼·沃卡居然是卡夫卡生父乔装改扮的，真正的凶手也并非中田……

令人心碎卻無能為力的真實故事。
性、權力、升學主義──青澀的表皮、變態社會的日常
如果這件事情正在發生，我們要怎麼假裝世界上沒有人以強暴小女孩為樂？
「我下樓拿作文給李老師改。他掏出來，我被逼到塗在牆上。老師說了九個字：『不行的話，嘴巴可以吧。』我說了五個字：『不行，我不會。』他就塞進來。那感覺像溺水。可以說話之後，我對老師說：『對不起。』有一種功課做不好的感覺。」
痛苦的際遇是如此難以分享，好險這個世界還有文學。
小小的房思琪住在金碧輝煌的人生裡，她的臉和她可以想像的將來一樣漂亮。補習班國文名師李國華是同一棟高級住宅的鄰居。崇拜文學的小房思琪同樣崇拜飽讀詩書的李老師。
有一天李老師說，妳的程度這麼好，不如每個禮拜交一篇作文給我吧，不收妳周點費。思琪聽話地下樓了。老師在家裡等她，桌上沒有紙筆。
思琪的初戀是李老師。因為李老師把她翻面，把他的東西塞進去。那年的教師節思琪才十三歲，這個世界和她原本認識的不一樣。
如果這是愛情，為什麼覺得暴力？為什麼覺得被折斷？為什麼老師要一個女學生換過一個女學生？如果這不是愛情，那滿口學問的李老師怎麼能做了以後，還這麼自信、無疑、無愧於心？
這是一部驚人而特別的小說，小說作者既具有高度敏銳的感受力、又是一個近距離目擊者，使這整件事像一個「倖存的標本」那樣地被保留下來。整本書反覆地、用極度貼近被侵害者的視角，直直逼視那種「別人奪去妳某個珍貴之物」的痛苦──且掠奪之人是以此為樂。

What is Literary Theory? Is there a relationship between literature and culture? In fact, what is Literature, and does it matter? These are the sorts of questions addressed by Jonathan Culler in a book which steers a clear path through a subject which is often perceived to be impenetrable. It offers insights into theories about the nature of language and meaning, whether literature is a form of self-expression or a method of appeal to an audience, and outlines the ideas behind a number of different schools: deconstruction, semiotics, postcolonial theory, and structuralism amongst them.

"Information is endlessly available to us; where shall wisdom be found?" is the crucial question with which renowned literary critic Harold Bloom commences this impassioned book on the pleasures and benefits of reading well. For more than forty years, Bloom has transformed college students into lifelong readers with his unrivaled love for literature. Now, at a time when faster and easier electronic media threaten to eclipse the practice of reading, Bloom draws on his experience as critic, teacher, and prolific reader to plumb the great books for their sustaining wisdom.
Shedding all polemic, Bloom addresses the solitary reader, who, he urges, should read for the purest of all reasons: to discover and augment the self. Always dazzling in his ability to draw connections between texts across continents and centuries, Bloom instructs readers in how to immerse themselves in the different literary forms.
Probing discussions of the works of beloved writers such as William Shakespeare, Ernest Hemingway, Jane Austen, Walt Whitman, Emily Dickinson, Charles Dickens, and William Faulkner highlight the varied challenges and delights found in short stories, poems, novels, and plays. Bloom not only provides illuminating guidance on how to read a text but also illustrates what such reading can bring -- aesthetic pleasure, increased individuality and selfknowledge, and the lifetime companionship of the most engaging and complex literary characters.
Bloom's engaging prose and brilliant insights will send you hurrying back to old favorites and entice you to discover new ones. His ultimate faith in the restorative power of literature resonates on every page of this infinitely rewarding and important book.

What does it mean when a fictional hero takes a journey?. Shares a meal? Gets drenched in a sudden rain shower? Often, there is much more going on in a novel or poem than is readily visible on the surface -- a symbol, maybe, that remains elusive, or an unexpected twist on a character -- and there's that sneaking suspicion that the deeper meaning of a literary text keeps escaping you.
In this practical and amusing guide to literature, Thomas C. Foster shows how easy and gratifying it is to unlock those hidden truths, and to discover a world where a road leads to a quest; a shared meal may signify a communion; and rain, whether cleansing or destructive, is never just rain. Ranging from major themes to literary models, narrative devices, and form, How to Read Literature Like a Professor is the perfect companion for making your reading experience more enriching, satisfying, and fun.

What makes a story a story? What is style? What's the connection between realism and real life? These are some of the questions James Wood answers in "How Fiction Works," the first book-length essay by the preeminent critic of his generation. Ranging widely--from Homer to David Foster Wallace, from "What Maisie Knew "to "Make Way for Ducklings"--Wood takes the reader through the basic elements of the art, step by step. The result is nothing less than a philosophy of the novel--plainspoken, funny, blunt--in the traditions of E. M. Forster's "Aspects of the Novel "and Strunk and White's "The Elements of Style." It sums up two decades of insight with wit and concision. It will change the way you read.

干校，本来是对公务人员和事业单位人员进行培训的地方，但在“文革”中，却赋予了它新的定语——“五七”，新的含义——对上述人员中的大多数进行“劳改”。杨绛先生在这里讲述了从要去干校直到回京一些事情和个人的心情、感受。本书1981年7月由生活·读书·新知三联书店出版，尤其受有干校经历的人喜欢，堪称“干校”文学中之经典。今天、今后，人们要感性地了解那段渐去渐远的历史，本书同样堪为经典。