Stanislaw Lem
By Nathan M. Powers

"If [Stanislaw Lem] isn't considered for a Nobel Prize by the end of the century, it will be because someone told the judges that he writes science fiction," predicted a Philadelphia Inquirer critic in 1983. Lem is arguably the greatest living science fiction writer, and even one of the most important European authors of his generation; yet he commands little critical attention, and has failed to reach discerning American science fiction readers who ought, one would think, to be most interested in him. The reasons for this may be sought, paradoxically, in the high demands he makes of his own work: Lem is a true original, but at the price of being marginal. 

The Time of Cruel Miracles

Stanislaw Lem was born in 1921 in Lvov, Poland, to a family of the professional class; both his father and uncle were doctors. As a young man Lem planned to become a doctor himself, enrolling at the Lvov Medical Institute. When the Institute closed due to the war in 1941, he became a mechanic and welder for a German corporation. During the lean war years Lem, who was himself of Jewish ancestry, escaped a number of close calls as Jewish acquaintances disappeared around him. On at least one occasion, he was nearly arrested sneaking out supplies from his workplace for the Polish Resistance.

After the war Lem's life changed greatly. He moved with his family to Cracow in 1946, and completed his medical studies there in 1948. He did not, however, take a diploma, because persons with medical degrees were at the time automatically conscripted into the army. Instead in 1947 he accepted a position as a research assistant at Jagellonian University in Cracow, reading articles in a wide range of scientific fields for review in the journal Zycie Nauki (Life of Science). Almost thirty years old now, Lem was receiving a second education that grounded him firmly in contemporary scientific trends.

At the same time, he began to publish fiction. His first several novels conformed (with the help of extensive state censorship) to the officially promoted standards of Social Realism; they paint optimistic pictures of a future in which social progress is supported by technology. None of these early works has been translated, and, although they did establish his status as one of Poland's most talented writers, Lem later disowned them altogether. The tone of Lem's fiction underwent a sea change in 1956, when a wave of popular uprisings against Soviet rule swept Eastern Europe; one of the immediate results in Poland was a relaxation of government controls on the press. Lem's own thinking seems to have changed as well, although he has always proven reticent about his political views. At any rate, 1956 began what critics have called Lem's "golden period", a dozen years of remarkably fertile literary output. In this period Lem imagined a number of different universes and populated them with stories.

One such is the world of Ijon Tichy, a highly decorated cosmonaut of the far future whose strange wanderings through space and time are chronicled in the Star Diaries and Memoirs of a Space Traveller. Tichy lives in a universe teeming with life, where humanity jostles shoulders with creatures bizarre and grotesque, yet somehow always familiar; for this is a world where humanity's virtues and flaws are writ large across the stars. These stories may be read as sharp social satire, depicting the bizarre customs of other places to drive home surprising points about our own; they have been aptly compared to the philosophical fictions of Swift and Voltaire.

Another of Lem's story-cycles is set in the 21st century, when the moon has been colonized, and Earth's space forces struggle to establish a presence on Mars. This is the world of Pirx the Pilot, an endearingly ordinary fellow who manages to bluff and blunder his way through harrowing dangers -- a sort of Everyman of the Space Age. In Pirx's world there are no aliens, no faster-than-light drives, and no space wormholes. On the contrary, the Pirx tales are models of scientific realism, describing in hauntingly convincing detail what it is like to voyage through the vast, empty reaches of the solar system, and to pass time in lonely outposts on harsh and alien soil. The antagonists of these tales tend to be of humanity's own devising: they are the computers and robots intended to help people live and work in space.. 

Lem does not settle for the ordinary sci-fi resolutions to human-machine conflict. He deals with problems of artificial intelligence in a sophisticated manner, aided by his hero's own scepticism. The machines Pirx learned to fly with were clearly just powerful calculators following their programs, the descendants of today's computers. But as electronic brains are designed to operate independently and to interact more with their environment, as they are fitted out with redundant memory and processing capacity and "raised" in complex training environments, they sometimes behave oddly ... Some of the Pirx tales would make excellent reading for an introductory course in philosophy or cognitive science. 

A third world of Lem's is revealed in the Cyberiad. This is a fantastical creation, where light whims and dark urges can materialize in the blink of an eye, where myths are made and broken every day. It is a world peopled by machines and computers. Humanoids, or "palefaces", live here too, but they are generally avoided because of their disgusting gooeyness and squishiness -- besides, some of the best researchers in the field of Non-Artificial Intelligence maintain that organic tissues are incapable of exhibiting real mental states! 

Our chief guides to this marvelous place are a pair of robots named Trurl and Klapaucius, who travel throughout the universe working as freelance inventors. For a fee, they will construct a machine to any specifications, with results ranging from the hilarious to the tragic. An evil robot king searches the universe for automated prey that can withstand his hunting prowess; an electronic Bard threatens to destroy civilization by spellbinding all who hear it with perfect song. The dread Pirate Pugg, ravenous for information, scours the space lanes, absorbing all the data he can get his hands on; Trurl and Klapaucius catch him with an ingenious trap, a machine that produces an endless stream of irrelevant and unconnected facts! Another volume, Mortal Engines, contains the legends of this cybernetic world, fables told to young robots. These hypnotic stories, full of brilliant and rambunctious wordplay, have been rendered beautifully into English by Michael Kandel. 

Finally, in addition to these story-cycles Lem composed a string of challenging novels, each posing a question about the conditions and limits of human knowledge. Solaris is probably Lem's best-known work, because it was adapted by Soviet director Andrei Tarkovsky into a critically acclaimed film. The novel tells the story of an encounter between a group of planetary explorers and a bizarre entity on the planet Solaris, which is a sort of living ocean that covers most of its world and is capable of chemical transformations of astounding mathematical complexity. For over a century before the encounter, Solaris had been the subject of intense scientific scrutiny, yet all attempts to establish contact with its vast inhabitant had failed. What experiences or concepts could humans possibly share with such a creature, in order to have a basis for communication? 

But this expedition is different. This time Solaris creates for each of the humans present a solid, living replica of whatever it discovers to be the deepest, most stable structure in their mental patterns -- in other words, it dredges up secret longings and repressed desires, and clothes them in flesh. In the case of the novel's narrator, Kelvin, a replica of his young wife Rheya appears. She had committed suicide years ago after threats that he didn't take seriously, and he has been racked with guilt over her ever since. He must watch her choose to take her life again, as she slowly comes to realize she is not really Rheya. At the end of the book, nothing is resolved; it is impossible to tell whether the psychic replicates are an attempt by the planet to communicate, an experiment it is carrying out, a game, or an inadvertent byproduct of some other process -- yet the novel comes to an astonishing close as Kelvin concludes that a universe containing both humanity and Solaris can be neither the product of rational planning nor of chance, and that "the time of cruel miracles" is not yet past. 

His Master's Voice treats a similar theme in a very different way. A lengthy neutrino transmission, originating at the distant edge of the galaxy, has been picked up accidentally by an Earth observatory. The U.S. government immediately creates a top-secret project (called "His Master's Voice") to decipher this "letter from the stars". The novel is cast as the memoir of one of the chief mathematicians engaged on the project, Dr. Peter Hogarth. Hogarth is one of Lem's most fascinating characters, and one of literature's rare realistic portraits of a scientific genius. At the outset of his account, Hogarth tells us that he feels the need to speak up because he has read through a whole shelf of books about himself and his role in the HMV project, and finds that none of them get to the heart of the matter. The problem is not, however, that none of these studies tell the real story, but that all of them expect there tobe a "real story": 

With sufficient imagination a man could write a whole series of versions of his life; it would form a union of sets in which the facts would be the only elements in common. People, even intelligent people, who are young, and therefore inexperienced and naïve, see only cynicism in such a possibility. They are mistaken, because the problem is not moral but cognitive. (p. 5)

This passage introduces the note of profound epistemological pessimism that returns, again and again, to haunt Hogarth as he struggles to make sense of the informational artifact from outer space. For example, many of his colleagues hope that the "Senders" of the transmission will use basic mathematical formulae to establish a protocol for deciphering their message; but Hogarth fears that the elements of mathematics are ultimately linguistic, and so do not necessarily have any purchase outside of human culture. This is not to say that math is true only in a relative way, or that it does not "map" the universe accurately, but only that other accurate "maps" may exist as well. Besides, he reasons, even if the Senders happen to possess a math just like our own, what good would it do? All communication requires an act of reference, of pointing to a "this"; and mathematics cannot, by its very nature, refer. As the book progresses, little happens in the way of plot, but Hogarth's lines of enquiry broaden to encompass evolution, ethics, the proper role of government in science, and the meaning of death; a drama unfolds from his ideas themselves. All this may make His Master's Voice sound a bit dry, but it isn't -- as Peter Beagle wrote in the New York Times Book Review, "By the last chapters one is racing like a romance novel addict." HMV is an astonishing little novel, and perhaps Lem's masterpiece.

Return From the Stars tells the story of Hal Bregg, a member of one of the first astronautical expeditions to make use of the near-light-speed drive to explore nearby stellar systems, who is therefore one of the first persons to experience the time-dilation effect predicted by Einstein's theory of relativity. He returns just ten years older, but to an Earth which has aged over a century, and to a society that he does not recognize. The reader joins Bregg on his first attempt to travel by himself on this strange new Earth, but Bregg finds himself bewildered, because he is unable even to guess at the motives underlying most peoples' actions. Why (he wonders) does so much seem incomprehensible, inexplicable? Could simple technological changes account for the apparent difference in mores?

It turns out that human nature has itself been altered by a universally administered genetic treatment that removes some of humankind's less desirable traits (in particular, violent aggression). Bregg must decide whether he can come to grips with this new human species, now alien to him, or whether he should accept the chance, offered to him in sympathy, to build a new ship and return to the stars from whence he came.

Solaris, His Master's Voice, and Return From the Stars are all "science fiction" in a pure sense -- that is, fiction about science and its relationship to (or contribution to) moral problems. Each depends on masterful storytelling and compelling characters to frame philosophical questions; and these questions in turn illuminate the stories from their depths, challenging the reader to see as far into them as possible. As Lem once remarked, "Knowing is the hero of my books."

Although Lem earned most of his fame among the Soviets and Americans for his fiction, part of his reputation in Poland rests on a study in futurology, the massive two-volume Summa Technologiae, published in 1964. This work, based on Lem's extensive readings in contemporary scientific literature, summed up the state of (then) current technology and extrapolated how various instrumental modes were likely to develop in the future, and suggested the possible consequences these developments would have on society

Come, every frustum longs to be a cone, 

And every vector dreams of matrices 

In the 70's, Lem's writing took a decided turn from conventional science fiction to experimental narrative forms. The change was heralded by the publication of The Futurological Congress in 1971, which begins as an ordinary Ijon Tichy tale but gradually becomes something else. The atmosphere of Earth has been contaminated by one (or more?) well-meaning governments with one (or more?) psychoactive drugs designed to improve the quality of life for the world's poor, overcrowded masses. The result is an intricate tangle of mass hallucinations; Tichy attempts to investigate, but finds himself unable to discover which of the worlds he uncovers through chemical stimuli is real. The novel plays with states of subjectivity in a manner reminiscent of the best of Philip K. Dick.

In Memoirs Found in a Bathtub, Tichy wakes up, disoriented, in the Pentagon of the far future, a vast bureaucratic compound that seems to have disconnected itself from the world around it. The astronaut is assigned a mysterious mission to accomplish, but receives no particular instructions; as he wanders around various offices and departments in search of more details, he finds himself getting caught up in the obscure intrigues of the Pentagon's denizens, though no closer to his goal. Memoirs borrows heavily from Kafka (in substance, if not in style), and so has elicited widely different responses from Lem fans.

Lem's experimental tendencies were fully realized in a series of works that gestured outside of themselves to a whole corpus of imaginary literature.Imaginary Magnitudes is a collection of prefaces to books that haven't been written; A Perfect Vacuum collects reviews of books that will be written in the future; and One Human Minute contains essays on some "old" books that were (weren't?) written in the late-20th and 21st centuries. These works, with their self-referential playfulness and sparkling invention, are tributes to the fiction of Borges -- indeed, the first item in A Perfect Vacuum is a review ofA Perfect Vacuum, lambasting the author for copying Borges' trick of conjuring unreal writings. But where Borges tends to use the device of an imaginary book to sketch out a metaphysical premise in concrete form, Lem uses it more to poke fun at modern fashions in art, literature, and academia. InA Perfect Vacuum, for instance, a blank book entitled Rien du tout, ou la conséquence is praised as "the first novel to reach the limit of what writing can do," while Imaginary Magnitude offers an introduction to an album of 139 x-ray photographs of sex, called "pornograms".

In the early 70's, Lem's books began to appear in English, and it was hoped they would find an avid, ready-made readership; but at the same time, the foundations were being laid for distrust and misunderstanding between Lem and his English-speaking colleagues. In 1973, the Science Fiction Writers of America, moved by the spirit of Nixon-era international goodwill, awarded an honorary membership to Lem, as the most prominent representative of Eastern Bloc sci-fi. Four years later, however, this membership was summarily revoked. The immediate cause of "the Lem Affair" was an article Lem had published in criticism of science fiction in the English-speaking world. He called it derivative, and asserted that it consisted largely of sterile elaborations on a handful of threadbare themes that had been developed by H.G. Wells and Olaf Stapledon. Lem, by contrast, has been tainted by his own originality within a genre that accomodates far too much mediocrity and repetition. Science fiction writers do not win Nobel Prizes.

In the wake of the harsh Communist crackdown on Solidarity in 1983, Lem, without making any public political statement, quietly moved with his family to Vienna, where his close friend and literary agent Franz Rottensteiner lived. (They have since moved back to the suburbs of Cracow). Lem returned to writing novels of conventional form, but his work from this period is difficult to assess, since most of it has not been translated into English. In Peace On Earth, Ijon Tichy returns to save an Earth threatened by its own past. In the 2ist century, the world's nations had entrusted their security to autonomous, self-evolving batteries of microweaponry; as part of the global disarmament that followed, these tiny insect-like nanoweapons were deposited on the moon. But now it seems these discarded arsenals are planning an invasion, and Tichy is dispatched to defuse the situation. There is a fascinating twist to the narration: in the course of his mission to the Moon, Tichy encounters a weapon which separates the left hemisphere of his cerebellum from the right half, so that both halves of his brain struggle to tell the story in their own words. 

Fiasco, Lem's last novel, is a dark parable about exploration. A band of human explorers travel to the planet Quinta, and find there an alien civilization they do not even begin to comprehend. They resort to grasping for symbols and analogies, and in the end pattern their own behavior on primitive human archetypes; humankind, Lem seems to be suggesting, cannot bear very much of the unknown. 

This brief review cannot really do justice to Lem's considerable and varied literary achievements. In addition to other works of science fiction not mentioned here, Lem has published two excellent mystery novels, screenplays, a systematic theory of literature, and numerous essays in literary criticism (some of which have been collected in English under the titleMicroworlds), as well as books on philosophy, cybernetics, and the theory of probability. Indeed, Lem's very breadth may be his most distinguishing characteristic; as one of his most astute reviewers, J. Madison Davis, has written, "One cannot dislike Lem; one can only dislike parts of him." 

There are many reasons to read Lem. His stories, charged with invention and wit, never fail to entertain. At the same time, no living writer has used fiction to engage scientific problems as seriously as Lem, who views prognosis as one of literature's most important functions. Ours is the age of cybernetics and genetics. We stand, precarious, on the verge of making not just new choices -- for that is simply the human condition -- but the new sorts of choices that technology makes possible; and there is little other than imagination available to guide our next steps. Stanislaw Lem shows that science fiction, now more than ever, is good to think with, and he has revealed rich new possibilities for the genre. 

Nathan M. Powers, 1 October 1999

THE MODERN WORD

Stanislaw Lem
Stanisław Lem 

"Oh, I read good books, too, but only Earthside. Why that is, I don't really know. Never stopped to analyze it. Good books tell the truth, even when they're about things that never have been and never will be. They're truthful in a different way. When they talk about outer space, they make you feel the silence, so unlike the Earthly kind – and the lifelessness. Whatever the adventures, the message is always the same: humans will never feel at home out there." (from 'Pirx's Tale' in More Tales of Pirx The Pilot, 1983)

"And do you believe in God?" 

"I do." 

"But you didn't think a robot would, right?" 

"Right." 

(from 'The Inquest' in More Tales of Pirx the Pilot, 1983)

Upon the publication of Pokój na Ziemi (1987, Peace on Earth), an Ijon Tichy satire on the moon, Lem announced that he will finish his career as a novelist and focus only on essays and columns. Lem expressed his disappointment in current science fiction in Microwords: Writings on Science Fiction and Fantasy (1984). Science fiction should examine, according to Lem, scientific problems or mysteries, but it offers hostile monsters and juvenile fantasy. However, in 2000 Lem published a new novel, Okamgnienie, about how the word ends happily. Lem died of heart failure on 27 March, 2006, in Cracow.

For further reading: Stanislaw Lem by E. Balcerzak (1973); New Worlds for Old by David Ketterer (1974); Stanislaw Lem by Joseph Olander, Martin Greenberg (1983); Just the Other Day: Essays on the Suture of the Future, ed. by Luk de Vois (1985); 'Stanislaw Lem' by Richard E. Ziegfeld, in Science Fiction Studies, Vol. 1 (1985); Hard Science Fiction, ed. by George E. Slusser and Eric S. Rabkin (1986); Stanislaw Lem by J. Madison Davis (1987); Rozmowy ze Stanislawem Lemem, with Stanislaw Berés (1987); Weltprothesen und Prothesenwelten: Zu den technischen Prognosen Arno Schmidts und Stanislaw Lems by Bernd Flessner (1991); Contemporary World Writers, ed. by Tracy Chevalier (1993); A Stanislaw Lem Reader, ed. by Peter Swirski (1997); Stanislaw Lems Prognose des Epochenendes by Holger Arndt (2001); Between Literature and Science: Poe, Lem, and Explorations in Aesthetics, Cognitive Science, and Literary Knowledge by Peter Swirski 2001); The Art And Science of Stanislaw Lem by Peter Swirski (2006)

Selected works:

• Człowiek z Marsa, 1946 (serialized in Nowy Swiat Prygod)
• Astronauci, 1951 [The Astronauts]
  - Kuoleman planeetta (suom. Ilmari Raitakari, 1960)
  - film: Der schweigende Stern (DDR / Poland, 1959), prod.
  Deutsche Film (DEFA), VEB DEFA-Studio für Spielfilme, Künstlerische Arbeitsgruppe "Roter Kreis", dir. by Kurt Maetzig, starring Yoko Tani, Oldrich Lukes,  Ignacy Machowski, Julius Ongewe, Kurt Rackelmann, Gunter Simon
• Jacht "Paradise", 1951 (with Roman Hussarski)
• Sezam i inne opowiadania, 1954
• Obłok Magellana, 1955
  - film: Ikarie XB-1 / Voyage to the End of the Universe (1963), prod. Filmové Studio Barrandov, dir. Jindrich Polak, starring Zdenek Stepanek, Radovan Lukavsky, Frantisek Smolik, Otto Lackovic
• Dialogi, 1957
• Dzienniki gwiazdowe, 1957
  - The Star Diaries (translated by Michael Kandel, 1976) / Memoirs of a Space Traveler: Further Reminiscences of Ijon Tichy (translated by Joel Stern and Maria Swiecicka-Ziemianek, 1982)
  - Tähtipäiväkirjat (suom. Päivi Paloposki, Kirsti Siraste, 1983)
  - TV series (2007), prod. Deutsche Film- und Fernsehakademie Berlin (DFFB), Kosmische Kollegen, Sabotage Films, starring Oliver Jahn (as Ijon Tichy), Nora Tschirner and Peter Princz
• Szpital przemienienia, 1957
  - The Hospital of the Transfiguration (translated by William Brand, 1988)
  - film: Szpital przemienienia (1979), prod. Film Polski, P.P. Film Polski, Zespol Filmowy "Tor", dir. Edward Zebrowski, screenplay Michal Komar and Edward Zebrowski
• Czas nieutracony, 1957 (3 vols.)
• Śledztwo, 1959
  - The Investigation (translated by Adele Milch, 1974)
  - TV film (1974), prod. Zespol Filmowy "Pryzmat", dir. Marek Piestrak, starring Tadeusz Borowski, Edmund Fetting and Jerzy Przybylski
• Inwazja z Aldebarana, 1959
• Eden, 1959
  - Eden (translated by Marc E. Heine, 1989)
  - Eeden (suom. Kirsti Siraste, 1984)
• Powrót z gwiazd, 1961
  - Return from The Stars (translated by Barbara Marszal and Frank Simpson, 1980)
  - Paluu tähdistä (suom. Aarne Valpola ja Kirsti Siraste, 1977)
• Pamiętnik znaleziony w wannie, 1961
  - Memoirs Found in a Bathtub (translated by Michael Kandel and Christine Rose, 1986)
• Solaris, 1961
  - Solaris (translated from the French by Joanna Kilmartin and Steve Cox, 1970) / Solaris (translated by Bill Johnston, 2011)
  - Solaris (suom. Matti Kannosto, 1973)
  - films: Solyaris (1968), TV film, prod. Iz Sobraniya Gosteleradio, Studio "Orlenok", Central Television USSR, dir. Lidiya Ishimbayeva, Boris Nirenburg, starring Vasili Lanovoy, Antonina Pilyus and Vladimir Etush / Soljaris / Solaris (1972), dir. by Andrei Tarkovski, starring Donatas Banionis, Natalija Bondartšuk, Juri Järvet; Solaris (2002), prod. Twentieth Century Fox Film Corporation, Lightstorm Entertainment, dir. by Steven Soderberg, starring George Clooney, Natascha McElhone, Jeremy Davies, Viola Davis
• Księga Robotów, 1961
• Wejście na orbitę, 1962
• Noc księżycowa, 1963
• Bajki robotów, 1964
  - Mortal Engines, 1977 (translated by Michael Kandel)
  - Konekansan satuja ja tarinoita (suom. Seppo Sipilä, 2004)
• Niezwyciężony i inne opowiadania, 1964
  - The Invincible (tr. 1973)
  - Voittamaton (suom. Päivi Paloposki ja Kirsti Siraste, 1979)
• Summa technologiae, 1964
• Cyberiada, 1965
  - Cyberiad: Fables for the Cybernetic Age (translated by Michael Kandel, 1974) / Mortal Engines, 1977 (translated by Michael Kandel)
  - Kyberias (suom. Matti Kannosto, 1982)
• Polowanie, 1965
• Ratujmy kosmos i inne opowiadania, 1966 [Let's Save the Cosmos and Other Stories]
• Wysoki Zamek, 1966
• Opowieści o pilocie Pirxie, 1968
  - Tales of Pirx the Pilot (tr. Louis Iribarne, 1979); More Tales of Pirx the Pilot (translated by Louis Iribarne, Magdalena Majcherczyk, Michael Kandel, 1982)
  - film: Test pilota Pirxa (1978), prod. prod. Dovzhenko Film Studios, Tallinnfilm, Zespol Filmowy, dir. by Marek Piestrak, starring Sergei Desnitsky (as Commander Pirx), Boleslaw Abart, Vladimir Ivašov, Aleksandr Kaidanovsky (based on the short story 'Rozprawa')
• Głos Pana, 1968
  - His Master's Voice (translated by Michael Kandel, 1984)
  - Isännän ääni (suom. Matti Kannosto, 1985)
• Filozofia przypadku: literatura w świetle empirii, 1968 [Philosophy of Chace: Literature on Light of Empiricism]
• Opowiadania, 1969 [Tales]
• Fantastyka i futurologia, 1970
  - Microwords: Writings on Science Fiction and Fantasy (ed. Franz Rottensteiner, 1984)
• Doskonała próżnia, 1971
  - A Perfect Vacuum (translated by Michael Kandel, 1979)
• Kongres futurologiczny: Ze wspomnień Ijona Tichego, 1971
  - The Futurological Congress (translated by Michael Kandel, 1985)
  - Futurologinen kongressi (suom. Riitta Koivisto, Kirsti Siraste, 1978)
  - TV film: Ijon Tichy: Raumpilot (2007), screenplay Oliver Jahn, starring Oliver Jahn (as Ijon Tichy), Nora Tschirner and Peter Princz
• Dzienniki gwiazdowe, 1971 (expanded edition of the 1957 collection)
  - parts published earlier, translated as The Star Diaries: Further Reminiscences of Ijon Tichy (tr. 1976) / Memoirs of a Space Traveler: Further Reminiscences of Ijon Tichy (translated by Joel Stern and Maria Swiecicka-Ziemianek, 1982)
  - Tähtipäiväkirjat (suom. Päivi Paloposki, Kirsti Siraste, 1983)
  - Ijon Tichy: Raumpilot (2007),  TV series, prod. Deutsche Film- und Fernsehakademie Berlin (DFFB), Kosmische Kollegen, Sabotage Films, starring Oliver Jahn (as Ijon Tichy), Nora Tschirner and Peter Princz
• Opowiadania wybrane, 1973
• Wielkość urojona, 1973
  - Imaginary Magnitude (translated by Marc E. Heine, 1984)
• Rozprawy i szkice, 1975 [Essays and Sketches]
• Maska, 1976
  - 'The Mask' (in Mortal Engines,translated by Michael Kandel, 1977)
• Suplement, 1976 [Supplement]
• Katar, 1976
  - The Chain of Change (translated by Louis Iribarne, 1978)
  - Nuha (suom. Riitta Koivisto, Kirsti Siraste, 1981)
• Powtórka, 1979 [Repetition]
• The Cosmic Carnival of Stanislaw Lem, 1981 (ed. Michael Kandel)
• Golem XIV, 1981
  - 'Lecture XLIII-About Itself' and 'Afterword' (in Imaginary Magnitude, tr. 1984)
• Wizja lokalna, 1983 [On Site Inspection]
• Prowokacja, 1984 [Provocation]
• Biblioteka XXI wieku, 1986
  - One Human Minute (translated by Catherine S. Leach, 1986)
  - film: 1 (2009), prod. Cameofilm, End and End Image, Honeymood Films, dir. Pater Sparrow, starring Zoltán Mucsi, László Sinkó, Pál Mácsai, Vica Kerekes 
• Fiasko, 1987
  - Fiasco (translated by Michael Kandel, 1989)
• Rozmowy ze Stanisławem Lemem, 1987 (with Stanislaw Berés)
• Pokój na Ziemi, 1987
  - Peace on Earth (translated by Elinor Ford and Michael Kandel, 1994)
  - Rauha maassa (suom. Kirsti Siraste, 1989)
• Ciemność i pleśń, 1988 [Darkness and Mildew]
• Dzienniki gwiazdowe, 1991
• Wysoki Zamek, 1995
  - Highcastle: A Remembrance (translated by Michael Kandel, 1995)
• A Stanislaw Lem Reader, 1997 (ed. Peter Swirski)
• Dziury w całym, 1997 (Tomasz Fialkowski)
• Okamgnienie, 2000
• Świat na krawędzi, 2001
• Listy 1956-1978, 2011

Ernest Hemingway Milan, 1918

"Certainly there is no hunting like the hunting of man and those who have hunted armed men long enough and liked it, never really care for anything else thereafter. You will meet them doing various things with resolve, but their interest rarely holds because after the other thing ordinary life is as flat as the taste of wine when the taste buds have been burned off your tongue." 

('On the Blue Water' in Esquire, April 1936)

"And then it just occurred to him that he was going to die. It came with a rush, not as a rush of water nor of wind; but of a sudden evil-smelling emptiness, and the odd thing was that the hyena slipped lightly along the edge of it." 

(in 'The Snows of Kilimanjaro')

In 1960 Hemingway was hospitalized at the Mayo Clinic in Rochester, Minnesota, for treatment of depression, and released in 1961. During this time he was given electric shock therapy for two months. He believed that FBI agents were following him, which was true: they had compiled a large file on him. On July 2 Hemingway committed suicide with his favorite shotgun at his home in Ketchum, Idaho. Several of Hemingway's novels have been published posthumously. True at First Light, depiction of a safari in Kenya, appeared in July 1999. It is one of the worst books written by a Nobel writer.

For further reading: Ernest Hemingway: A Life Story by C. Baker (1969); My Brother, Ernest Hemingway by L. Hemingway (1962); Papa: Hemingway in Key West by J. McLendon (1972, rev. ed. 1990); Hemingway, Life and Works by G.B. Nelson and G. Jones (1985); Hemingway by Kenneth Lynn (1987); The Hemingway Women by B. Kert (1983); Hemingway's The Sun Also Rises by F.J. Svoboda (1983); Ernest Hemingwayby K. Ferrell (1984); Ernest Hemingway's A Farewell to Arms, ed. by H. Bloom (1987); Ernest Hemingway Rediscovered by N. Fuentes (1988); A Reader's Guide to the Short Stories of Ernest Hemingway, ed. by P. Smith (1989); Ernest Hemingway: A Study of the Short Fiction by J.M. Flora (1989); Ernest Hemingway by P.L. Hays (1990); Hemingway and Spain by E.F. Stanton (1990); Hemingway's Art of Nonfiction by R. Weber (1990); Ernest Hemingway by R.B. Lyttle (1992); Hemingway: A Life Without Consequences by James R. Mellow (1993); Hemingway: The 1930s by Michael Reynolds (1997); Hemingway vs. Fitzgerald: The Rise and Fall of a Literary Friendship by Scott Donaldson (1999);Hemingway’s Boat: Everything He Loved in Life, and Lost, 1934–1961 by Paul Hendrickson (2011)  - Films (see also below): Among Hemingway's several film adaptations are also The Macomber Affair (dir. by Zoltan Korda, 1946), The Breaking Point (dir. Michael Curtiz, 1950),The Snows of Kilimanjaro (dir. Henry King, 1952), Ernest Hemingway's Adventures of a Young Man (dir. by Martin Ritt, 1962), The Killers (dir. Don Siegel, 1964). Ava Gardner played in three Hemingway films: The Killers, The Snows of Kilimanjaro, and The Sun Also Rises. She became friend of the writer and aficionada of bullfighting. 

Selected bibliography:

• Three Stories and Ten Poems, 1923
• In Our Time, 1924
• The Torrents of Spring, 1926
• The Sun Also Rises, 1926 (GB title: Fiesta) 
  - film: The Sun Also Rises, 1957, dir. Henry King , screenplay by Peter Viertel, starring Tyrone Power, Ava Gardner, Errol Flynn, Mel Ferrer
• Men Without Women, 1927
• A Farewell to Arms, 1929  
  - films: A Farewell to Arms, 1932, screenplay Benjamin Glazer, Oliver H.P. Garrett, dir. Frank Borgaze, starring Helen Hayes, Gary Cooper, Adolphe Menjou; A Farewell to Arms, 1957, screenplay Ben Hecht, dir. Charles Vidor, starring Rock Hudson, Jennifer Jones, Vittorio De Sica
• Death in the Afternoon, 1932 
  Winner Take Nothing, 1933
• Green Hills of Africa, 1935 
  To Have and Have Not, 1937 
• - films: To Have and Have Not , 1944, dir. Hawks,  co-script William Faulkner starring Humphrey Bogart, Lauren Bacall, Walter Brennan, Dolores Moran, Hoagy Carmichael; The Breaking Point, 1950, dir. Michael Curtiz, starring John Garfield, Patricia Neal, Phyllis Thaxter; The Gun Runners, 1958, dir. Don Siegel, starring Audie Murphy, Everett Sloane, Gita Hall, Patricia Owens, Eddie Albert; Nakhoda Khorshid, 1987, prod. Pakhshiran, The Peiman Film Group, dir. Naser Taghvai, starring Dariush Arjmand, Ali Nassirian and Saeed Poursamimi
• The Spanish War, 1938
• The Short Stories of Ernest Hemingway, 1938
• The Fifth Column and the First Forty-Nine Stories, 1938 
  - films: The Killers, 1946, screenplay by Anthony Veiller, dir. Robert Siodmak, starring Burt Lancaster, Ava Gardner; The Macomber Affair, 1947, adaptation by Seymour Bennett, dir.  Zoltan Korda, starring Gregory Peck, Joan Bennett; The Snows of Kilimanjaro, 1950, dir. Henry King, starringGregory Peck, Susan Hayward, Ava Gardner; The Killers, 1964,  adaptation by Gene L. Coon, dir. Don Siegel, starring Lee Marvin, Angie Dickinson, John Cassavetes, Clu Gulager; Hills Like White Elephants, 2002, dir. Paige Cameron, starring Greg Wise, Emma Griffiths Malin; A Clean, Well-Lighted Place, 2002, adaptation by M. Merriam Berger, dir. William Tyler Alspaugh; God Rest You Merry, Gentlemen, 2005, dir.  Justin Spence; Los Asesinos / The Killers, 2006, dir. Eduardo Moyano Fernández; Killarna - en far og seks syv brødre, 2006, dir.  Johannes Trägårdh Jensen; Bokser ide u raj, 2007, dir. Nikola Lezaic
• The Spanish Earth, 1938 (film commentary)
• For Whom the Bell Tolls 1940 
  - film: For Whom the Bell Tolls, 1943, prod. Paramount Pictures, screenplay Dudley Nichols, dir. Sam Wood, starring Ingrid Bergman, Gary Cooper, Akim Tamiroff
• The Portable Hemingway, 1942 (edited by Malcolm Cowley)
• The Essential Hemingway, 1947
• Across the River and Into the Trees, 1950 
  The Old Man and the Sea, 1952 (Pulitzer Prize in 1953) 
• - films: The Old Man and the Sea, 1958, prod. Leland Hayward Productions, Warner Bros. Pictures, screenplay Peter Viertel, dir.  John Sturges, starring Spencer Tracy, Felipe Pazos; TV movie 1990, teleplay Roger O. Hirson, dir. Jud Taylor, starring Anthony Quinn, Gary Cole and Patricia Clarkson
• The Hemingway Reader, 1953 (selected, with a foreword and twelve brief prefaces by Charles Poore)
• The Short Stories of Ernest Hemingway, 1953 
• Two Christmas Tales, 1958
• The Wild Years, 1962 (edited and introduced by Gene Z. Hanrahan)
• Three Novels: The Sun also Rises; with an introd. by Malcolm Cowley. A Farewell to Arms; with an introd. by Robert Penn Warren. The Old Man and the Sea; with an introd. by Carlos Baker, 1962
• A Moveable Feast, 1964 (ed. Mary Hemingway; restored edition, 2009, ed. Seán Hemingway)
• By-Line: Ernest Hemingway: Selected Articles and Dispatches of Four Decades, 1967 (edited by William White, with commentaries by Philip Young) 
• The Fifth Column and Four Stories of the Spanish Civil War, 1969
• Hemingway's African Stories: The Stories, Their Sources, Their Critics, 1969 (compiled by John M. Howell)
• Ernest Hemingway, Cub Reporter: Kansas City Star Stories, 1970 (edited by Matthew Joseph Bruccoli)
• Islands in the Stream, 1970 
  - film: Islands in the Stream, 1976, prod. Paramount Pictures, Zeeuwse Maatschappij N.V. , screenplay Denne Bart Petitclerc, dir. by Franklin J. Schaffner, starring George C. Scott, David Hemmings
• Ernest Hemingway's Apprenticeship: Oak Park, 1916-1917, 1971 (edited by Matthew Joseph Bruccoli)
• The Nick Adams Stories, 1972 (pref. by Philip Young)
  - Nick Adamsin tarina (suom. Juhani Jaskari, 1979)
• The Enduring Hemingway: An Anthology of a Lifetime in Literature, 1974 (edited with an introd. by Charles Scribner, Jr.)
• 88 Poems, 1979 (edited with an introd. and notes by Nicholas Gerogiannis) 
• Complete Poems, 1979 (edited, with an introduction and notes by Nicholas Gerogiannis)
• Ernest Hemingway Selected Letters 1917–1961, 1981 (edited by Carlos Baker) 
• Ernest Hemingway on Writing, 1984 (edited by Larry W. Phillips) 
• Dateline: Toronto: The Complete Toronto star dispatches, 1920-1924, 1985 (edited by William White) 
• The Dangerous Summer, 1985 (introduction by James A. Michener) 
• Conversations with Ernest Hemingway, 1986 (edited by Matthew J. Bruccoli)
• The Garden of Eden, 1986 
  - film: The Garden of Eden, 2008, prod. Devonshire Productions, Berwick Street Productions, Freeform Spain, screenplay James Scott Linville, dir. John Irvin, starring Jack Huston, Mena Suvari, Caterina Murino
• The Complete Short Stories Of Ernest Hemingway, 1987
• The Complete Poems, 1992 (rev. ed., edited with an introduction and notes by Nicholas Gerogiannis) 
• The Only Thing That Counts: The Ernest Hemingway/Maxwell Perkins Correspondence, 1925-1947, 1996 (edited by Matthew J. Bruccoli)
• True at First Light, 1999 (edited with an introduction by Patrick Hemingway) 
• Hemingway on Fishing, 2000 (edited and with an introduction by Nick Lyons; foreword by Jack Hemingway)
• Hemingway on Hunting, 2003 (edited and with an introduction by Seán Hemingway; foreword by Patrick Hemingway)
• Hemingway on War, 2003 (edited and with an introduction by Seán Hemingway; foreword by Patrick Hemingway)
• Under Kilimanjaro, 2005 (edited by Robert W. Lewis and Robert E. Fleming) 
• Dear Papa, Dear Hotch: The Correspondence of Ernest Hemingway and A.E. Hotchner, 2005 (edited by Albert J. DeFazio, III; preface by A.E. Hotchner)
• Hemingway and the Mechanism of Fame: Statements, Public Letters, Introductions, Forewords, Prefaces, Blurbs, Reviews, and Endorsements, 2006 (edited by Matthew J. Bruccoli with Judith S. Baughman)
• Hemingway on Paris, 2008
• The Good Life according to Hemingway, 2008 (edited by A.E. Hotchner)
• The Letters of Ernest Hemingway, 2011- (edited by Sandra Spanier and Robert W. Trogdon) 

"But the real apotheosis of this side of the Teutonic cosmos came into its own through the labors of the brothers Ludwig Karl, and Wilhelm Karl Grimm for whom the measure of our administration may well be marked by the fact that there is nothing in the world left to say about their collection of fairy tales. It is, on the whole, wrong to concede the brothers Grimm to the romantics. They belonged to the earth movement and are known wherever the sky covers the land. That is the real German Empire."

For further reading: Grimm Brothers and the Germanic Past, ed. by Elmer H. Antonsen (1990); The Hard Facts of the Grimms' Fairy Tales by Maria M. Tatar (1990); The Brothers Grimm and Folktale, ed. by James M. McGlathery (1991); The Brothers Grimm and Their Critics by Christa Kamenetsky (1992); Grimms' Fairy Tales by James M. McGlathery (1993); The Reception of Grimms' Fairy Tales, ed. by Donald Haase (1993); The Brothers Grimm: Two Lives, One Legacy by Donald R. Hettinga (2001) William Butler Yeats (1865-1939) studied Irish legends and tales, which he published with George Russell and Douglas Hyde in Fairy and Folk Tales of the Irish Peasantry (1888). Although Grimm's Fairy Tales is in fact much closer to genuine folk tales, the Brothers Grimm probably rival Hans Christian Andersen as the best-known tellers of fairy tales. Their stories have been utilized by many modern fantasists, including Tanith Lee, Robin McKinley, and Patricia Wrede.  Film: The Wonderful World of the Brothers Grimm (1962), dir. by Henry Levin, George Pal, starring Laurence Harvey, Karl Boehm, Claire Bloom, Barbara Eden - an account of the lives of the brothers, supplemeted by three stories, "The Dancing Princess,""The Cobbler and the Elves," and "The Singing Bone.

 

• Über den altdeutschen Meistergesang, 1811
• Die beiden ältesten deutschen Gedichte aus dem achten Jahrhundert: das Lied von Hildebrand und Hadubrand und das Weissenbrunner Gebet, 1812 (ed., with Wilhelm Grimm)
• Kinder- und Hausmärchen, 1812-15 (2nd. ed. 1819, 3rd. ed. 1837, 4th ed. 1840, 5th ed. 1843, 6th ed. 1850, 7th. ed. 1857) 
  - German Popular Stories (translated by Edgar Taylor, illustrated by George Cruikshank, 2 vols., 1823-1826) / Household Tales (tr. 1853, illustrated by H. Wehnert) / Grimm's Fairy Tales (translated by H.B. Paull, 1868) / Household Tales (tr. 1884) / Household Stories (translated by Lucy Crane, 1886) / Household Fairy Tales (translated by Ella Bodley, 1890) / Tales (translated by Wanda Gág, 1936) / German Folk Tales (translated by Francis P. Magoun Jr. and Alexander H. Krappe, 1960) / Fairy Tales (translated by James Stern, 1972) / Grimm's Tales for Young and Old, 1977 (translated by Ralph Manheim, 1977) / Fairy Tales (translated by Jack Zipes, 1987)  
  Altdeutsche Wälder, 1813-1816 (3 vols., ed., with Wilhelm Grimm)
• Deutsche Sagen, 1816-1818 (with Wilhelm Grimm; 2 vols.) 
  - The German Legends of the Brothers Grimm (translated by Donald Ward, 1981)
• Deutsche Grammatik, 1819-37 (4 vols.)
• Deutsche Rechts Alterhümer, 1828
• Deutsche mythologie, 1835 
  - Teutonic Mythology (translated by James Steven Stallybrass, 1883-1885)
• Geschichte der deutschen Sprache, 1848 (2 vols.)
• Deutsches Wörterbuch, 1852-1961 (with Wilhelm Grimm, 16 vols., 32 bound in pairs)
• Kleinere Schriften, 1864-1890 (8 vols.)
• Briefe der brüder Grimm, 1923 (ed. H. Gürtler)
• Die schönsten Grimms Märchen, 1950 (ed. Gisela Fischer) 
  - Tunnettuja Grimmin satuja (suom. Leena Niukkanen, 1979)
• Reden und Aufsätze, 1966 (ed. W. Schoof)
• Die allerschönsten Märchen der Gebrüder Grimm, 2004 (illustrated by Bernhard Oberdieck) 
  
  

DRAGON
GRIMM / LITTLE RED RIDIN HOOD
GRIMM / THE FISHERMAN AND HIS WIFE
GRIMM / THE FROG-KING
GRIMM / THE SEVEN RAVENS

Wilhelm Grimm

Wilhelm and Jacob Grimm – famous for their classical collections of folk songs and folktales, especially for Kinder- und Hausmärchen(Children's and Household Tales); generally known as Grimm's Fairy Tales. Stories such as 'Snow White' and 'Sleeping Beauty' have been retold countless times, but they were first written down by the Brothers Grimm. In their collaboration Wilhelm, who was the more imaginative and literary of the two, selected and arranged the stories, while Jacob was responsible for the scholarly work.

"'Silly goose,' said the old woman. 'The door is big enough; just look, I can get in myself!' and she crept up and thrust her head into the oven. Then Gretel gave her a push that drove her far into it, and shut the iron door, and fastened the bolt. Oh! then she began to howl quite horribly, but Gretel ran away and the godless witch was miserably burnt to death." (from 'Hansel and Gretel')

In 'The Snow White' the violence was toned down by later editions: at the end of the story the wicked Queen is forced to put on red-hot iron slippers and dance till she dies. The witch ends up in the oven and is baked alive In 'Hansel and Gretel.'"Oh, you dear children, who has brought you here? Do come in, and stay with me. No harm shall happen to you." (from 'Hansel and Gretel') Little red Riding Hood was turned In Nazi Germany into a symbol of the German people, saved from the evil Jewish wolf. In the 1970s the tales were scorned for promoting a sexists, authority-ridden world view. The tales were largely banned from the German nursery. However, the Grimm's world has been utilized by many modern fantasists and filmmakers, including Tanith Lee, Robin McKinley, Patricia Wrede, and the director Terry Gillam. The 200th anniversary of the publication of Die Kinder und Hausmärchen in Kassel in 2012 launched the 2013 celebrations of the brothers.

For further reading: Grimm Brothers and the Germanic Past, ed. by Elmer H. Antonsen (1990); The Hard Facts of the Grimms' Fairy Tales by Maria M. Tatar (1990); The Brothers Grimm and Folktale, ed. by James M. McGlathery (1991); The Brothers Grimm and Their Critics by Christa Kamenetsky (1992); Grimms' Fairy Tales by James M. McGlathery (1993); The Reception of Grimms' Fairy Tales, ed. by Donald Haase (1993); The Brothers Grimm: Two Lives, One Legacy by Donald R. Hettinga (2001).  Herman Grimm (1828-1901), the second son of Wilhelm Grimm, professor of the history of modern art at University of Berlin (from 1873), essayist, whose style of controlled improvisation influenced deeply the development of the genre in Germany. Herman Grimm dedicated his first collection, Essays (1859), to Ralph Waldo Emerson. His works were rediscovered in the 1940s. W.B. Yeats (1865-1939) studied Irish legends and tales, which he published with George Russell and Douglas Hyde inFairy and Folk Tales of the Irish Peasantry (1888). Film: The Wonderful World of the Brothers Grimm (1962), dir. by Henry Levin, George Pal, starring Laurence Harvey, Karl Boehm, Claire Bloom, Barbara Eden - an account of the lives of the brothers, supplemeted by three stories, "The Dancing Princess,""The Cobbler and the Elves," and "The Singing Bone." 

• Altdänische heldenlieder, balladen und märchen, 1811
• Die beiden ältesten deutschen Gedichte aus dem achten Jahrhundert: das Lied von Hildebrand und Hadubrand und das Weissenbrunner Gebet, 1812 (ed., with Jacob Grimm)
• Kinder- und Hausmärchen, 1812-15 (2nd. ed. 1819, 3rd. ed. 1837, 4th ed. 1840, 5th ed. 1843, 6th ed. 1850, 7th. ed. 1857) 
  - German Popular Stories (translated by Edgar Taylor, illustrated by George Cruikshank, 2 vols., 1823-1826) / Household Tales (tr. 1853, illustrated by H. Wehnert) / Grimm's Fairy Tales (translated by H.B. Paull, 1868) / Household Tales (tr. 1884) / Household Stories (translated by Lucy Crane, 1886) / Household Fairy Tales (translated by Ella Bodley, 1890) / Tales (translated by Wanda Gág, 1936) / German Folk Tales (translated by Francis P. Magoun Jr. and Alexander H. Krappe, 1960) / Fairy Tales (translated by James Stern, 1972) / Grimm's Tales for Young and Old, 1977 (translated by Ralph Manheim, 1977) / Fairy Tales (translated by Jack Zipes, 1987)  
  - Koti-satuja lapsille ja nuorisolle (suom. J.A. Hahnsson, 1876) / Lasten- ja kotisatuja 1-2 (suom. Helmi Krohn, 1927) / Grimmin satuja (suom. 1930) / Grimmin satukirja (suom. Helena Anhava et al., 1962) / Grimmin satuja (suom. Aarno Peromies, 1973) / Grimmin sadut 1-3 (suom. ja toim. Raija Jänicke ja Oili Suominen, 1999
• Altdeutsche Wälder, 1813-1816 (3 vols., ed., with Jacob Grimm)
• Deutsche Sagen, 1816-1818 (with Jacob Grimm; 2 vols.) 
  - The German Legends of the Brothers Grimm (translated by Donald Ward, 1981)
• Über deutsche Runen, 1821
• Die deutsche Heldensage, 1829 [The German Heroic Tale]
• Altdeutsche Gespräche: Nachtrag, 1851
• Deutsches Wörterbuch, 1852-1961 (with Jacob Grimm, 16 vols., 32 bound in pairs)
• Zur Geschichte des Reims:Abhandlung der Berliner Akademie, 1852
• Kleinere Schriften, 1881-1897 (4 vols. ed. G. Hinrichs)
• Briefe der brüder Grimm, 1923 (ed. H. Gürtler)
• Die schönsten Grimms Märchen, 1950 (ed. Gisela Fischer) 
• Die allerschönsten Märchen der Gebrüder Grimm, 2004 (illustrated by Bernhard Oberdieck) 
  
  

Marguerite Duras

French novelist, representative of the nouveau roman, scenarist, playwright, and film director, internationally known for her screenplays ofHiroshima Mon Amour , directed by Alain Resnais, and India Song (play 1973, screenplay 1975). After relatively traditional novels and stories, Duras published in 1958 the novel Moderato Cantabile, which first summarized her themes of sexual desire, love, death, and memory. However, Duras did not publish a manifesto of her ideas like so many representatives of the noveau roman did, but her final work, Ecrite (1995, Writing), gave a brief account of her life and theory of writing.

"The solitude of writing is a solitude without which writing could not be produced, or would crumble, drained bloodless by the search for something else to write. When it loses its blood, its author stops recognizing it. And first and foremost it must be never be dictated to a secretary, however capable she may be, nor ever given to a publisher to read at that stage." (from Writing, transl. by Mark Polizzotti, 1998)

Marguerite Duras was born in Gia Dinh, Indochina (now Vietnam). Her father died on sick leave in France when she was four, and her mother, a teacher, struggled hard to bring up her three children. Duras spent most of her childhood in Indochina. While still a teenager, she had an affair with a wealthy Chinese man, whom she called Monsieur Jo and also Léo. Later Duras returned to this period in her books. At the age of 17, she moved to France, where she studied law and political science at the Sorbonne, graduating in 1935. Duras took her penname from the name of a village in France near where her father had owned property.

From 1935 to 1941 Duras worked as a secreraty at the ministry of colonies. During World War II, she was a member of French Resistance; she had also joined the Communist Party. After the war she condemned its policies and was expelled in 1950 for revisionism. Although Duras had helped writers opposing Nazis during the war, she was also accused of being a member of a literary committee controlled by the Germans.

Duras's husband Robert Antelme was a member of the resistance group Richelieu, led by François Mitterrand. Antelme was captured by the Gestapo, but he survived Buchenwald, Gandersheim, and Dachau. After returning to France, Antelme wrote his memoirs, L'espece humaine. Duras, who had planned to leave Antelme, nursed him. This period was the basis for Duras's collection of short stories, entitled La Douleur (1985). Her first book, Les Impudents, came out in 1942. Her early novels were influenced by Ernest Hemingway, Virginia Woolf, and François Mauriac.

Duras worked as a journalist for the magazine Observateur. Her reputation was made in the 1950s with such works as Un barrage contre le Pacifique (1950), which depicted a poor French family in Indochina, the psychological romantic novel Le marin de Gibraltar (1952), and Le Square (1955), which associated her with the New Novel group. Unlike other avant-garde writers, Duras was not so much interested in abstract literary theories than examining the power of words, remembering, forgetting, and feelings of alienation. Often her dialogue is elliptical and instead of describing action she focuses on the inner life of her characters. 

The theme of love between people of different races runs through many of Duras's works, among them Hiroshima, Mon Amour, about the brief love affair between a married French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada). Riva tells Okada about her forbidden love affair with a German soldier during the occupation. After the Liberation her hair was shorn by the villagers and she had a mental breakdown. The film is famous for its innovative use of flashback and parallel montage. In Japan it did poor business under the titleTwenty-four Hour Love Affair. Love, especially in Duras's earlier work, offers her characters a way to escape their aimlessness of life. Other ways are alcohol or "madness".

Hiroshima, Mon Amour received an Academy Award nomination for Best Screenplay. All reviews were not enthusiastic. "That a film so amateur should receive so much critical acclaim is a sad commentary on the state of Western culture... the enthusiasms of a-political critics for this picture reveals a mental confusion so close to intellectual bankruptcy as to alarm everyone who believes the West has a mission."(H.H., Films in Review, June/July 1960) Duras was also accused of ignoring Okada's story, and drawing parallels between the Hiroshima holocaust and Riva's suffering. After the May 1968 students' revolt, Duras's writing grew increasingly abstract. Although she rejected the aesthetic and stylistic techniques in her earlier work, she returned to this material to turn it into new plays, novels and films. Duras's sparse, yet suggestive style, and her use of language, was much discussed by feminists as embodying feminine writing.

"When a woman drinks it's as if an animal were drinking, or a child. Alcoholism is scandalous in woman, and a female alcoholic is rare, a serious matter. It's a slur on the divine in our nature. I realized the scandal I was causing around me. But in my day, in order to have the strength to confront it publicly – for example, to go into a bar on one's own at night – you needed to have had something to drink already."

(from Practicalities, 1990)

Marguerite Duras Photo by Ralph Gibson

From the 1970s Duras concentrated on making films and publishing screenplays. With Gérald Depardieu she made the film Camion in 1977. In the 1980s she gained again critical acclaim with her semi-autobiographical novel L'Amant (1984, The Lover), about her youth in Indo-China. The book won her the Prix Goncourt, France's most prestigious literary prize, and sold in short time 1.5 million copies. Duras begins the novel by analyzing her own image, after an unknown man tells that he prefers her face, ravaged as it is, more now than when she was a young woman: "I grew old at eighteen . . . My ageing was very sudden. I saw it spread over my features one by one, changing the relationship between them, making the eyes larger, the expression sadder, the mouth more final, leaving creases in the forehead."

The Lover was made in 1992 into a film, directed by Jean-Jacques Annaud. "Destruction. A key word when it comes to Marguerite Duras, who uses her novels, her plays and her films to study herself in as many mirrors; she identifies herself with her work to the point that she no longer knows what is autobiographical fact and what is fiction." (Jean-Jacques Annaud, CNN, March 5, 1998) The film, in which a teenage girl is initiated into sex by an older Chinese dandy, was available in Europe in a sexier version. In L'Amant de la Chine du Nord (1990) she again returned to her Vietnamese experience.

Duras's life in the 1980s and 1990s was subject for Yann Andréa Steiner's books M.D. (1983) and Cet Amour-lá (1999). They give an account of Duras's later creative period, which was shadowed by her drinking. Andréa, who was 38 years younger than Duras, became obsessed with her books, and met her in 1980. Andréa worked as her secretary, and also acted in her films. Their relationship was tumultuous: "I don't know who you are," she could say and drive him out of her apartment, but he always returned. In Practicalities (1987) Duras tells about her life with Andréa, and confesses that she became an alcoholic immediately when she started to drink. Duras also mentions that she took aspirin every day for fifteen years. Yann Andréa encouraged her to go to hospital for treatment. Duras went in October 1982 to the American Hospital of Paris. After returning back home, she believed her apartment was full of strange people. Yann tried to confirm her that there was nobody else in the apartment. To please her he once opened and closed a door for one of Duras's hallucinatory guests. Duras lived with Andréa until her death in Paris on November 3, 1996.

Kirjasto

For further reading: Marguerite Duras by Alfred Cismaru (1971); Marguerite Duras by A. Vircondelet (1972); Marguarite Duras: Modersto Cantabile by David Coward (1981); Alienation and Absence in the Novels of Marguerite Duras by Carol J. Murphy (1982); M.D. By Yann Andréa Steiner (1983): Marguerite Duras: Writing on the Body by Sharon Willis (1987); The Other Woman: Feminism and Feminity in the Works of Marguerite Duras by Trista Selous (1988); Remains to Be Seen: Essays on Marguerite Duras, ed. by Sanford Scribner Ames (1988);Women and Discourse in the Fiction of Marguerite Duras by S.D. Cohen (1993); Duras: A Biography by A. Vircondelet (1994); Marguerite Duras by Laure Adler (Gallimard, 1998); Cet Amour-lá by Yann Andréa (1999); Marguerite Duras: A Life by Laure Adler (2001) Nouveau roman, see also Claude Simon, Alain Robbe-Grillet, Michel Butor and Nathalie Sarraute. "...De ce dialogue harassant, il se dégage bien quelques petites choses; le désarroi de cette femme, la tristesse de sa vie, un vague désir de communiquer, par-delà les mots, avec quelqu'un – et pourquoi pas, après tout, avec ce Chauvin qui s'est trouvé là? Mais pourquoi ces saouleries au vin rouge? Ce brusque désir de rompre avec la vie normale? Il y a une sorte d'outrance qui fait que le lecteur ne peut, derrière ce comportement qu'on nous dit, imaginer qu'un monde superficiel dans lequel vit un être superficiel. Cette coquille de noixque Marguerite Duras nous offre ne ressemble en rien à celle dont parlait Joyce lorsqu'il disait vouloir mettre all space in a nutshell, car elle est, au départ, aussi faussement bariolée qu'un œuf de Pâques." (Anne Villelaur about Moderato Cantabile in Les Lettres françaises, 6-3-1958)

• Les Impudents, 1942
• La Vie tranquille: roman, 1944
• Un barrage contre le Pacifique: roman, 1950 
  - The Sea Wall (translated by Herma Briffault, 1967) / A Sea of Troubles (translated by Antonia White, 1969) 
  - film 2008, dir. by Rithy Panh, starring Gaspard Ulliel, Vincent Grass, Isabelle Huppert, Lucy Harrison
• Le Marin de Gibraltar: roman, 1952 
  - The Sailor from Gibraltar (translated by Barbara Bray, 1967) 
  - film 1966, dir. by Tony Richardson; script by Christopher Isherwood, Don Magner, Tony Richardson
• Les Petits Chevaux de Tarquinia: roman, 1953 
  - Little Horses of Tarquinia (translated by Peter DuBerg, 1985)
• Des journées entières dans les arbres, 1954 (stage adaptation: Days in the Trees)
• Le Square: roman, 1955 
  - The Square (translated by Sonia Pitt-Rivers and Irina Morduch, 1959)
• Le Square, 1957 (produced; with Claude Martin)
• Moderato cantabile, 1958 
  - Moderato Cantabile (translated by Richard Seaver, 1960) 
  - Moderato Cantabile. Sonaatti rakkaudelle (suom. Marita Hietala, 1967) 
  - film 1960, dir. by Peter Brook, screenplay with Gérard Jarlot and Peter Brook, starring Jeanne Moreau, Jean-Paul Belmondo and Pascale de Boysson 
• Hiroshima mon amour: scénario et dialogues, 1959 (filmscript) 
  - film prod. Argos Films, Como Films, Daiei Studios, dir. by Alain Resnais, starring Emmanuelle Riva, Eiji Okada, Stella Dassas, Pierre Barbaud   
  - Hiroshima Mon Amour (translated by Richard Seaver, 1961) 
  - Hiroshima, rakastettuni (suom. Kristina Haataja, 1990)
• Les Viaducs de la Seine-et-Oise, 1960 (stage adaptation: The Viaducts)
• Dix heures et demie du soir en été, 1960 
  - Ten-Thirty on a Summer Night (translated by Anne Borchardt, 1962)
  - film 10:30 P.M. Summer, 1963, dir. by Jules Dassin, starring Melina Mercouri, Romy Schneider, Peter Finch
• Une aussi longue absence: scénario et dialogues, 1961 (screenplay, with Gérard Jarlot) 
  - film 1962, dir. by Henri Colpi, starring Alida Valli, Georges Wilson, Charles Blavette
• Les Papiers d'Aspern, 1961 (with Robert Antelme, adaptation of the play The Aspern Papers by Michael Redgrave, based on the story by Henry James)
• Miracle en Alabama, 1961 (with Gérard Jarlot, adaptation of The Miracle Worker by William Gibson)
• L'Après-midi de Monsieur Andesmas, 1962 
  - The Afternoon of Monsieur Andesmas (in Four Novels: The Square; Moderato Cantabile; Ten-Thirty on a Summer Night; The Afternoon of Mr. Andesmas, introd. by Germaine Brée, 1965)  
  - film 2004, dir. by Michelle Porte, starring Michel Bouquet, Miou-Miou, Paloma Veinstein
• La bête dans la jungle, 1962 (with James Lord, from The Beast in the Jungle by Henry James)
• Le Ravissement de Lol V. Stein, 1964 
  - The Rapture of Lol V. Stein (translated by Eileen Ellenbogen, 1967) / The Ravishing of Lol Stein (translated by Richard Seaver, 1967) 
  - Lol V. Steinin elämä (suom. Annikki Suni, 1986)
• Sans merveille de Michel Mitrani, 1964 (television play, with Gérard Jarlot)
• Four Novels: The Square. Moderato Cantabile. Ten-Thirty on a Summer Night. The Afternoon of Mr. Andesmas, 1965 (translated by Sonia Pitt-Rivers, et al.)
• Les Eaux et Forêts, 1965 (produced)
• Théâtre I, 1965
• Des journées entières dans les arbres, 1965 (produced)
• La Musica, 1965 (produced) 
  - TV film, in Love Story, 1965, prod. Associated Television (ATV), dir. John Nelson-Burton, starring Rosalind Atkinson, Michael Craig and Edward Higgins
• 10:30 P.M. Summer, 1966 (screenplay, with Jules Dassin) 
  - film 1966, prod. Argos Films, Jorilie, dir. Jules Dassin, starring Melina Mercouri, Romy Schneider and Peter Finch
• La Musica, 1966 (director, with Paul Seban; screenplay) 
  - film 1967, prod. Les Films Raoul Ploquin, Les Productions Artistes Associés, starring Delphine Seyrig, Robert Hossein, Julie Dassin
• Les Rideaux blancs de Georges Franju et Tadeusz Konwicki, 1966 (screenplay)
• Le Vice-Consul, 1966 
  - The Vice-Consul (translated by Eileen Ellenbogen, 1968) 
  - Varakonsuli (suom. Mirja Bolgár, 1988)
• Three Plays, 1967 (translated by Barbara Bray and Sonia Orwell)
• L'Amante anglaise, 1967 
  - Amante Anglaise (translated by Barbara Bray, 1968) 
  - Pään salaisuus: kuunnelma (suom. Saara Palmgren, 1987)
• Théâtre II, 1968
• Le Shaga, 1968 (produced; dir.)
• Yes, peut-être, 1968 (produced)
•  Détruire, dit-elle, 1969 (director, screenplay) 
  - Destroy, She Said (transl. by Barbara Bray, 1970) 
  - film 1969, prod. Ancinex, Madeleine Films, starring Catherine Sellers, Michael Lonsdale, Henri Garcin
• La Danse de mort, d'après August Strindberg, 1970 (prodeced)
• Abahn Sabana David, 1970
• L'Amour, 1971
• Jaune le soleil, 1971 (director, screenplay) 
  - film 1972, prod. Albina Productions S.a.r.l., starring Catherine Sellers, Sami Frey, Dionys Mascolo
•  Ah! Ernesto, 1971 (with Bernard Bonhomme)
• Nathalie Granger, 1972 (director, screenplay) 
  - film 1973, starring Lucia Bosé, Jeanne Moreau, Gérard Depardieu, Luce Garcia-Ville
• India Song, 1973 (play, screenplay in 1975) 
  - India Song (transl. by Barbara Bray, 1976)
• Home, 1973 (from the play by David Storey)
• La ragazza di passaggio / La Femme du Gange / Woman of the Ganges, 1973 (director, screenplay) 
  - film: La Femme du Gange, 1974, starring Catherine Sellers, Christian Baltauss, Gérard Depardieu, Dionys Mascolo
• Nathalie Granger, suivi de La Femme du Gange, 1973
• Le navire Night, 1974 
  - LaivaNuit (suom. Kristina Haataja, 1994)
• Les Parleuses, 1974 (interviews) 
  - Woman to Woman (translated by Katharine A. Jensen, 2004)
• Ce que savait Morgan, 1974 (screenplay, with others)
• Suzanna Andler; La musica & L'amante anglaise, 1975
• India Song, 1975 (director, screenplay) 
  - India Song (suom. Kristina Haataja, 1999) 
  - film 1975, starring Delphine Seyrig, Michael Lonsdale, Mathieu Carrière, Claude Mann
• Étude sur l'oeuvre littéraire, théâtrale, et cinématographique, 1975 (with Jacques Lacan and Maurice Blanchot)
• Des journées entières dans les arbres, 1976 (director, screenplay) 
  - Whole Days in the Trees (translated by Anita Barrows, 1984) 
  - film 1976, starring Madeleine Renaud, Bulle Ogier, Jean-Pierre Aumont, Yves Gasc
• Son nom de Venise dans Calcutta désert, 1976 (director, screenplay) 
  - film 1976, starring Nicole Hiss, Michael Lonsdale, Sylvie Nuytten, Delphine Seyrig
• Territoires du féminin, 1977 (with Marcelle Marini)
• L'Éden Cinéma, 1977 (produced)
• Le Camion, suivi d’entretiens avec Michelle Porte, 1977 (director, screenplay) 
  - film 1977, prod. Auditel, Cinéma 9, starring Marguerite Duras, Gérard Depardieu
• Baxter, Vera Baxter, 1977 (director, screenplay) 
  - film 1977, starring Delphine Seyrig, Noëlle Chatelet, Nathalie Nell, Claude Aufaure, Gérard Depardieu
• Les Mains négatives, 1978 (director, screenplay)
• Le Navire Night, 1978 (director, screenplay) 
  - film 1979, prod. Les Films du Losange, starring Dominique Sanda, Bulle Ogier, Mathieu Carrière
• Les Lieux de Marguerite Duras, 1978 (interview, with Michelle Porte)
• Le Navire Night et autres textes, 1979 
  - LaivaNuit (suom. Christina Haataja, 1994)
• Les Yeux ouverts, 1980
• L'Été 80, 1980
• Vera Baxter, 1980 (screenplay)
• L'Homme assis dans le couloir, 1980
• Césarée, 1980 (screenplay)
• Agatha et les lectures illimitées, 1981 (director, screenplay) 
  - film 1981, prod. Institut National de l'Audiovisuel (INA), Productions Berthemont, starring Bulle Ogier, Yann Andréa
• L'Homme atlantique, 1981 (director, screenplay) 
  - film 1981, starring Yann Andréa, Marguerite Duras
• Outside: Papiers d'un jour, 1981 
  - Outside: Selected Writings (translated by Arthur Goldhammer, 1986)
• Marguerite Duras à Montréal, Montreal, 1981 (edited by Suzanne Lamy and André Roy)
• Agatha, 1981 
  - Agatha; Savannah Bay. 2 Plays (translated by Howard Limoli, 1992) 
  - Agatha (suom. Jussi Lehtonen, 2000)
• Dialogue de Rome, 1982 (director, screenplay) 
  - film 1982, prod. Lunga Gittata Cooperativa, Rai Tre Radiotelevisione Italiana, starring Paolo Graziosi, Anna Nogara
• Savannah Bay, 1982 
  - Agatha; Savannah Bay. 2 Plays (translated by Howard Limoli, 1992)
• La Maladie de la mort, 1983 
  - The Malady of Death (translated by Barbara Bray, 1986) 
  - Kuolemantauti: näytelmä (suomentanut Jukka Mannerkorpi, 1994) 
  - short film 2003, dir. by Asa Mader, starring Anna Mouglalis, Stephan Crasneanski and Yann Goven 
• Théâtre III, 1984
• Les Enfants, 1984 (screenplay, dir. with Jean Mascolo, Jean-Marc Turine) 
  - film 1984, starring Axel Bogousslavsky, Daniel Gélin, Tatiana Moukhine, Martine Chevallier
• L'Amant, 1984 
  - The Lover (translated by Barbara Bray, 1985) 
  - Rakastaja (suom. Jukka Mannerkorpi, 1985) 
  - film 1992, dir. by Jean-Jacques Annaud, starring Jane March, Tony Leung Ka Fai and Frédérique Meininger 
• La Douleur, 1985 
  - Douleur (translated by Barbara Bray, 1986) / The War: A Memoir (translated by Barbara Bray, 1986) 
  - Tuska (suom. Jukka Mannerkorpi, 1987)
• La Musica deuxième: Théâtre, 1985 (produced)
• Anton Chekhov. La mouette, 1985 (translator)
• Les Enfants, 1985 (film, dir.)
• La Pute de la côte normande, 1986
• Les Yeux bleus, cheveux noirs, 1986 
  - Blue Eyes, Black Hair (translated by Barbara Bray, 1989) 
• La Vie matérielle, 1987 
  - Practicalities: Marguerite Duras Speaks to Jérôme Beaujour (translated by Barbara Bray, 1993) 
• Les Yeux verts, 1987 
  - Green Eyes (translated by Carol Barko, 1990)
• Emily L., 1987 
  - Emily L. (translated by Barbara Bray, 1989) 
• Marguerite Duras, 1987 (interview)
• La Pluie d'été, 1990 
  - Summer Rain (translated by Barbara Bray, 1992) 
• L'Amant de la Chine du Nord, 1990 
  - The North China Lover (translated by Leigh Hafrey, 1992) 
• Yann Andréa Steiner, 1992 
  - Yann Andrea Steiner: A Memoir (translated by Barbara Bray, 1993)
• Outside, tome 2: Le Monde extérieur , 1993
• Écrire, 1995 
  - Writing (translated by Mark Polizzotti, 2011) 
  - Kirjoitan (suom. Annika Idström, 2005)
• C'est tout, 1995 
  - No More (translated by Richard Howard, 1998) 
  - Ei muuta (suom. Kristina Haataja, 1995)
• Théâtre IV, 1999 
• Cahiers de la guerre et autres textes, 2006 
  - Wartime Writings: 1943-1949 (translated by Linda Coverdale, 2008) 
  - Sodan vihkot ja muita kirjoituksia (suomentanut Matti Brotherus, 2008)
•  Œuvres complètes, 2011 (2 vols., edited by Gilles Philippe et al.)

Jane Austen

"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." 

For further reading: Memoirs by J.E. Austen-Leigh (1870); Jane Austen and Her World by Mary Lascelles (1939); Jane Austen and Her Art by M. Lascalles (1941); Jane Austen by R.W. Chapman (1948); The Novels of Jane Austen by Robert Liddell (1963); The Language of Jane Austenby N. Page (1972); The Double Life of Jane Austen by Jane Hodge (1972); The Critical Heritage, ed. by B. Southam (1987); Jane Austen by Claudia L. Johnson (1990); Erotic Faith by Robert M. Polhemus (1990); Jane Austen's Novels by Roger Gard (1992); The Cambridge Companion to Jane Austen, ed. by Edward Copeland, Juliet McMaster (1997); Jane Austen, Obstinate Heart by Valerie Grosvenor Myer (1997);Jane Austen: Her Life by Park Honan (1997); Jane Austen: A Life by David Nokes (1998); Jane Austen: A Life by Claire Tomalin (1998); A History of Jane Austen's Family by George Holbert Tucker (1998); Critical Essays of Jane Austen, ed. by Laura Mooneyham (1998); Jane Austen by Deirdre Le Faye (1998); The Author's Inheritance: Henry Fielding, Jane Austen, and the Establishment of the Novel by Jo Alyson Parker (1998); Pride & Promiscuity: The Lost Sex Scenes of Jane Austen by Arielle Eckstut, Dennis Ashton (2001); Jane Austen by Carol Shields (2001) - See also: J.F. J.F. Cooper - Museum: Jane Austen's House, Chawton, Alton, GU34 ISD. - Austen wrote Mansfield Park, Emma, andPersuasion while living in this house.

• Lady Susan, 1793-94 
• Sense and Sensibility, 1811 
  - films: TV drama 1971, dir. by David Giles, TV drama 1981, dir. by Rodney Bennett; 1995, dir. by Ang Lee, starring Emma Thompson, Alan Rickman, Kate Winslet, Hugh Grant. "Verbally, the film is nicely nuanced and catches the spirit of the text. The female characters tend to be ironists or dimwits, though many of the latter are good, amusing people who generally mean well. For decades readers have been drawn to the civilized world Jane Austen created in her novels. This film brilliantly transforms that world to the screen and is sure to revive Hollywood's interest in Jane Austen, to the delight of literate viewers." (from Novels into Film by John C. Tibbetts and James M. Welsh, 1999); Kandukondain Kandukondain, 2000, dir. by Rajiv Menon; TV series 2007, dir. by John Alexander
• Pride and Prejudice, 1813 
  - film 1940, dir. by Robert Z. Leonard, written Aldous Huxley, Jane Murfin, play Helen Jerome, starring Laurence Olivier and Greer Garson. "While Austen sustains a heightened level of clever dialogue, the screenwriters insert various slapstick scenes such as the squawking parrot, Lady Catherine sitting on a music box, Mr. Collins scurrying on his knees as he proposes to Elizabeth, and the tipsy tendencies of Lydia and Kitty." (fromNovels into Film by John C. Tibbetts and James M. Welsh, 1999); BBC televisio series 1995, dir. by Simon Langton, starring Jennifer Ehle, Colin Firth, Susannah Harker, Crispin Bonham-Carter; 2003, dir. by Andrew Black; Bride & Prejudice, 2004, dir. by Gurinder Chadham, starring Aishwarya Rai, Martin Henderson, Daniel Gillies; TV mini-series 2005, dir. by Joe Wright, starring Keira Knightley, Rosamund Pike, Talulah Riley, Jena Malone, Donald Sutherland, Simon Woods, and Matthew McFadyen
• Mansfield Park, 1814 
  - films: TV mini-series 1983, dir. by David Giles; 1999, dir. by Patricia Rozema; television drama 2007, dir. by Iain B. MacDonald
• Emma, 1815 
  - films: 1932, dir. by Clarence Brown; TV drama 1948, dir. by Michael Barry; TV drama 1960, dir. by Campbell Logan; 1996, dir. by Douglas Mc Grath, starring Gwyneth Paltrow, Toni Collette, Ewan McGregor; Clueless, 1996, dir. by Amy Heckerling, starring Alicia Silverstone and Paul Rudd; television drama 1996, dir. by Diarmuid Lawrence
• Northanger Abbey, 1817 
  - films: TV drama 1986, dir. by Giles Foster; starring Katharine Schlesinger; Peter Firth, Robert Hardy, Googie Withers, Geoffrey Chater; TV drama 2007, dir. by Jon Jones
• Persuasion, 1818 
  - films: 1955, dir. by Rober Michell; BBC TV series, 1995, dir. by Roger Michell, starring Amanda Root, Ciaran Hinds, Susan Fleetwood, Corin Redgrave, Fiona Shaw and John Woodvine; TV mini-series 2007, dir. by Adrian Shergold
• The Watsons, 1871 
• The Novels and Letters of Jane Austen, 1906 (Chawton ed.; 12 vols., edited by R. Brimley Johnson, with an introduction by Prof. William Lyon Phelps)
• Love & Friendship, and Other Early Works, 1922
• Three Novels, 1923 (edited by R.W. Chapman)
• The Letters of Jane Austen, 1925 (selected with an introduction by R. Brimley Johnson) 
• [Sanditon]: Fragment of a Novel, 1925 (unfinished)
• Sanditon, The Watsons, Lady Susan, and Other Miscellanea, 1934 (with an introduction by R. Brimley Johnson) 
• Jane Austen's Letters to Her Sister Cassandra and Others, 1935 (2 vols., collected and edited by R. W. Chapman)
• The Oxford Illustrated Jane Austen, 1923-54 (edited by R.W. Chapman)
• The Complete Novels of Jane Austen, 1998
• Selected Letters, 2004 (selected with an introduction and notes by Vivien Jones)
• Love and Friendship and Other Early Works, 2005 (introduction by Sarah S.G. Frantz)
• Becoming Jane: The Wit and Wisdom of Jane Austen, 2007 (edited by Anne Newgarden)
• Later Manuscripts, 2008 (edited by Janet Todd and Linda Bree)
• Catharine and Other Writings, 2009 (edited by Margaret Anne Doody and Douglas Murray; with an introduction by Margaret Anne Doody) 
• The Wicked Wit of Jane Austen, 2011 (rev. ed., compiled, edited, and introduced by Dominique Enright) 

"What really knocks me out is a book that, when you're all done reading it, you wish the author that wrote it was a terrific friend of yours and you could call him up on the phone whenever you felt like it. That doesn't happen much, though." 

(Holden Caulfied in The Catcher in the Rye)

Salinger by Lo Snöfall

For further reading: J.D. Salinger and the Critics, ed. William F. Belcher and James E. Lee (1962); Salinger: A Critical and Personal Portrait,ed. Henry A. Grunwald (1962); J.D. Salinger by Warren French (1963, 1976); 'If You Really Want to Know': A Catcher Casebook, ed. Malcolm M. Marsden (1963); J.D. Salinger by James E. Miller, Jr. (1965); J.D. Salinger by J. Lundquist (1979); Salinger: Modern Critical Views, ed. H. Bloom (1987); In Search of J.D. Salinger by Ian Hamilton (1988); World Authors 1900-1950, Vol. 4, ed. Martin Seymour-Smith and Andrew C. Kimmens (1996); Cult Fiction by Andrew Calcutt and Richard Shepard (1998); Salinger by Paul Alexander (1999); Dream Catcher by Margaret Ann Salinger (2000); J.D. Salinger: A Life by Kenneth Slawenski (2011) - Film adaptations: My Foolish Heart (1949), story J.D. Salinger, script Julius J. and Philip G. Epstein, dir. Mark Robson. 

• The Catcher in the Rye, 1951 
• Nine Stories, 1953 (contains A Perfect Day for Bananafish, Uncle Wiggily in Connecticut, Just Before the War with the Eskimos, The Laughing Man, Down at the Dinghy, For Esmé - with Love and Squalor, Pretty Mouth and Green My Eyes, De Daumier-Smith's Blue Period, Teddy) 
  - Films: My Foolish Heart (Uncle Wiggily in Connecticut), 1949, prod. The Samuel Goldwyn Company, dir. Mark Robson, screenplay by Julius J. Epstein, Philip G. Epstein, starring Dana Andrews, Susan Hayward, Kent Smith; Un Día perfecto para el pez plátano, 2002 (short film), prod. Instituto Cubano de Radio y Televisión (Cuba), dir. Leandro Martínez Cubela
• Franny and Zooey, 1961 
  - Film: Pari, 1995, unauthorized adaptation shot in Iran, dir. Dariush Mehrjui, starring Niki Karimi, Ali Mosaffa, Khosro Shakibai, Melika Sharifinia
• Raise High the Roof Beam, Carpenters and Seymour: An Introduction, 1963

Mario Puzo with a cat

Marlon Brando with a cat

"Don Vito Corleone was a man to whom everybody came for help, and never were they disappointed. He made no empty promises, nor the craven excuse that his hands were tied by more powerful forces in the world than himself. It was not necessary that he be your friend, it was not even important that you had no means with which to repay him. Only one thing was required. That you, you yourself, proclaim your friendship. And then, now matter how poor or powerless the supplicant, Don Corleone would take that man's troubles to his heart. And he would let nothing stand in the way to a solution of that man's woe. His reward? Friendship, the respectful title of "Don," and sometimes the more affectionate salutation of "Godfather."

Mario puzo with Oscar

"A lawyer with his briefcase can steal more than a hundred men with guns."

The Godfather Vito Corleone and his sons

For further reading: The Immigrant Experience, ed. by T.C. Wheeler (1971); The Godfather Papers and Other Confessions (1972); The Italian-American Novel by Rose B. Green (1974); Contemporary Novelists, ed. by J. Vinson (1976); World Authors 1970-1975, ed. by John Wakeman (1980); Contemporary Popular Writers, ed. by David Mote (1997); Encyclopedia of Pulp Fiction Writers by Lee Server (2002)

• Dark Arena, 1955 
• The Fortunate Pilgrim, 1965 
  - Mamma Lucia (suom. Mikko Kilpi, 1972) 
  - The Fortunate Pilgrim, TV mini-series (1988), prod. Carlo & Alex Ponti, Rete Europa, dir. by Stuart Cooper, starring Sophia Loren, Edward James Olmos, John Turturro
• The Runaway Summer of David Shaw, 1966
• The Godfather, 1969 
  - Films: Godfather (1972), dir. by Francis Ford Coppola, starring Marion Brando, Al Pacino, James Caan, Diane Keaton, music Nino Rota. The film depicts events, when the Mafia's New York head dies of old age, and his son takes over reluctantly but later learns how to kill. Godfather Part II (1974), dir. by Francis Ford Coppola, starring Al Pacino, Robert Duvall. Diane Keaton, Robert De Niro. In 1958, Michael Corleone reflects on the problems of himself and his father before him. Godfather Part III (1990), dir. by Francis Ford Coppola, starring Al Pacino, Diane Keaton, Talia Shire, Andy Garcia. Eli Wallach, Bridget Fonda, written by Mario Puzo and Francis Ford Coppola. Operatic tale, where Michael Corleone attempts to become a legitimate businessman while grooming his brother's violent and illegitimate son as his successor
• The Godfather Papers and Other Confessions, 1972
• Earthquake, 1974, (script, with George Fox) 
  - Prod. Universal Pictures, The Filmakers Group, dir. by Mark Robson, starring Charlton Heston, Ava Gardner, George Kennedy, Lorne Greene
• Fools Die, 1975 
• Inside Las Vegas, 1977
• A Time to Die, 1982 (story: 'Six Graves to Munich') 
  - Film prod. Carnation International Pictures (CIP), screenplay John F. Goff, Matt Cimber, Willy Russell, dir. Matt Cimber, Joe Tornatore, starring Rex Harrison, Rod Taylor, Edward Albert, Ralf Vallone
• The Sicilian, 1984 
  - Film: The Sicilian (1987), prod. Gladden Entertainment, dir. by Michael Cimino, (Gore Vidal contributed to the screenplay, written by Steve Shagan), starring Christopher Lambert, Terence Stamp, Barbara Sukowa
• The Fourth K, 1991 
  Christopher Columbus: The Discovery (screenplay with others, also the story) 
• - Film: Prod. Quinto Centenario, screenplay John Briley, Cary Bates, Mario Puzo, dir. John Glen, starring Tom Selleck, Marlon Brando, Georges Corrafe, Rachel Ward
• The Last Don, 1996 
  
  

  - Films: The Last Don, TV mini-series (1997), dir. Graeme Clifford, starring Danny Aiello, Joe Mantegna and Daryl Hannah; The Last Don II, TV mini-series (1998), dir. Graeme Clifford, starring Patsy Kensit, Jason Gedrick and Kirstie Alley


• Omerta, 2000 
  The Family, 2001 (completed by Carol Gino)

HADDOCK: Hello there! Slept well?... No more dreams? 

TINTIN: Good morning, Captain. No, no more dreams.

TINTIN:No dreams, but not much sleep, either. I was haunted by that picture of Chang lying in the snow, calling to me for help. 

HADDOCK: Rubbish! Dream go by opposites, so they say. Don't think about it. Look, there's a letter for you, from Hong Kong. 

TINTIN: Hong Kong?  

(in Tintin in Tibet, 1960)

"You've read this brochure on Syldavia? ... What a country! ... They export mineral water, the poisoners!..." (Captain Haddock in Destination Moon, 1953)

For further reading: The Art of Herge, Inventor of Tintin: 1907-1937 by Philippe Goddin (2008); Hergé - Chronologie d'une œuvre 1-4 by Philippe Goddin (2000-2004); Tintin: The Complete Companion by Michael Farr (2001); Tintin et moi: entretiens avec Hergé by Numa Sadoul (2000); Hergé, ou: le secret de l'image: essai sur l'univers graphique de Tinti by Pierre Fresnault-Deruelle (1999); Hergé: biografie by Pierre Assouline (1998); Hergé: Tintin le terrible ou l'alphabet des richesses by Alain Bonfand, Jean-Luc Marion (1996); Le monde de Tintin by Pol Vandromme (1994); Une Psychanalyse amusante by Michel David (1994); Hergé by Pierre Ajame (1991); Entretiens avec Hergé by Numa Sadoul (1989); Tintin and the World of Hergé by Benoit Peeters (1989); Hergé - portrait biographique by Thierry Smolderen, Pierre Sterckx (1988); Hergé, 1922-1932: les debuts d'un illustrateur by Benoît Peeters (1987); Hergé by Serge Tisseron (1987); Tintin chez le psychanalysteby Serge Tisseron (1985) ; Les Métamorphoses de Tintin by Jean-Marie Apostolidès (1984); Tintins by Albert Algoud et al. (1984)

• Tintin au pays des Soviets, 1930 - Tintin in the Land of the Soviets (tr. Leslie Lonsdale-Cooper and Michael Turner, 1989 ) 
• Tintin au Congo, 1931 - Tintin in the Congo (tr. Leslie Lonsdale-Cooper and Michael Turner, 1991)
• Tintin en Amérique, 1932 - Tintin in America (tr. Leslie Lonsdale-Cooper and Michael Turner, 1978)
• Les Cigares du pharaon, 1934 - Cigars of the Pharaoh  (tr. Leslie Lonsdale-Cooper and Michael Turner, 1971) 
• illustrator: La Légende d'Albert 1er, roi des Belges by Paul Werrie, 1934
• Le Lotus bleu, 1936 - The Blue Lotus (tr.,  Leslie Lonsdale-Cooper and Michael Turner, 1983) 
• L'Oreille cassée, 1937 - The Broken Ear (tr.  Leslie Lonsdale-Cooper and Michael Turner, 1975)
• L'Ile Noire, 1938 - The Black Island (tr.  Leslie Lonsdale-Cooper and Michael Turner, 1966) 
• Le Sceptre d'Ottokar, 1939 - King Ottokar's Sceptre (tr. Leslie Lonsdale-Cooper and Michael Turner, 1958) 
• Le Crabe aux pinces d'or, 1941 - The Crab with the Golden Claws (tr. Leslie Lonsdale-Cooper and Michael Turner, 1958) 
• illustrator: Fables by Robert de Vroylande, 1941
• L'Étoile mystérieuse, 1942 - The Shooting Star (tr. Leslie Lonsdale-Cooper and Michael Turner, 1961) 
• Le Secret de la Licorne, 1943 - The Secret of the Unicorn (tr. Leslie Lonsdale-Cooper and Michael Turner, 1959) 
• Le Trésor de Racham le Rouge, 1944 - Red Rackham's Treasure (tr. Leslie Lonsdale-Cooper and Michael Turner, 1959) 
• Les Sept Boules de cristal, 1948 - The Seven Crystal Balls (tr. Leslie Lonsdale-Cooper and Michael Turner, 1962) 
• Le Temple du Soleil, 1949 - Prisoners of the Sun (tr. Leslie Lonsdale-Cooper and Michael Turner, 1962) - Auringon temppeli (suom. Soile Kaukoranta ja Heikki Kaukoranta, 1971)
• Tintin au pays de l'or noir, 1950 - Land of Black Gold (tr. Leslie Lonsdale-Cooper and Michael Turner, 1972) - Mustan kullan maa (suom. Soile Kaukoranta ja Heikki Kaukoranta, 1973)
• Objectif Lune, 1953 - Destination Moon (U.K. tr., 1959) 
• On a marché sur la Lune, 1954 - Explorers on the Moon (tr. Leslie Lonsdale-Cooper and Michael Turner, 1959) - Tintti kuun kamaralla (suom. Heikki ja Soile Kaukoranta, 1975)
• L'Affaire Tournesol, 1956 - The Calculus Affair (tr. Leslie Lonsdale-Cooper and Michael Turner, 1960) - Tuhatkaunon tapaus (suom. Heikki ja Soile Kaukoranta, 1972)
• Coke en stoke, 1958 - The Red Sea Sharks (tr. Leslie Lonsdale-Cooper and Michael Turner, 1960) - Seikkailu Punaisella merellä (suom. Jukka Kemppinen, 1970)
• Tintin au Tibet, 1960 - Tintin in Tibet (tr. Leslie Lonsdale-Cooper and Michael Turner, 1962) 
• Les Bijoux de la Castafiore, 1963 - The Castafiore Emerald (tr. Leslie Lonsdale-Cooper and Michael Turner, 1963) 
• Tintin et le lac aux requins, 1972 - Tintin and the Lake of Sharks (tr. Leslie Lonsdale-Cooper and Michael Turner, 1990) 
• Vol 714 pour Sydney, 1969 - Flight 714 (tr. Leslie Lonsdale-Cooper and Michael Turner, 1968) 
• Archives Hergé 1-4, 1973-80
• Tintin et les Picaros, 1974 - Tintin and the Picaros (tr. Leslie Lonsdale-Cooper and Michael Turner, 1976) 
• Tintin et L'Alph-Art, 1986 - Tintin and Alph-Art (tr. Leslie Lonsdale-Cooper and Michael Turner, 1990) 
• Correspondance, 1989 (ed. by Edith Allaert et Jacques Bertin) 
• Other works. Quick and Flupke series: Jeux interdits: Quick et Flupke tome 1; Tout Va Bien: Quick et Flupke tome 2; Haute tension: Quick et Flupke tome 3; Toutes voiles dehors: Quick et Flupke tome 4; Chacun son tour: Quick et Flupke tome 5; Pas de Quartier: Quick et Flupke tome 6; Pardon madame: Quick et Flupke tome 7; Vive le Progres: Quick et Flupke tome 8;Catastrophe: Quick et Flupke tome 9; Farces et Attrapes: Quick et Flupke tome 10; Coup de Bluff: Quick et Flupke tome 11;Attachez vos Ceintures: Quick et Flupke tome 12. Les aventures de Jo, Zette et Jocko: Le rayon du mystère; Le "Manitoba" ne repond plus ( 'Manitoba ei vastaa' ); Le testament de M. Pump (Mr. Pump's Legacy; Herra Pumpun testamentti); La Vallee des Cobras (The Valley of the Cobras; Kobralaakso); L'Eruption du Karamako (Karamakon purkaus); Destination New York(Destination New York; Matkalla New Yorkiin). Popol et Virginie: Popol et Virginie au pays des Lapinos 
• Films based on Tintin books: Le crabe aux pinces d'or (1947); Les aventures de Tintin (TV series 1957-59), prod. Belvision, Radio-Télévision Française (RTF); De geheimzinnige ster (1959), prod. Belvision; Het geheim van de Eenhoorn (1959), prod. Belvision; De krab met de gulden scharen (1959), prod. Belvision; De schat van scharlaken rackham (1959), prod. Belvision; Tintin et le mystère de la Toison d'Or (1961); Het geval Zonnebloem (1964), prod. Belvision; Tintin et les oranges bleues (1964), prod. Alliance de Production Cinematographique (APC), Procusa, Rodas P.C.; Tintin et le temple du soleil (1969), prod. Belvision, Dargaud Films, Raymond Leblanc; Tintin et le Lac aux requins (1974); prod. Belvision, Dargaud Films, Raymond Leblanc; Les Aventures de Tintin (TV Series 1991–1992), prod. Ellipse Programme, Nelvana, Fondation Hergé; The Adventures of Tintin (2011), dir. Stephen Spielberg

Boris Vian by Anabel Perujo

Boris Vian

"Write," he said. "Write best-sellers. Nothing but best-sellers. Historical novels; novels where colored men sleep with white women and don't get lynched; novels about pure young girls who manage to grow up unblemished by the vicious small-town life which surrounds them."

(from I Spit on Your Graves)

Boris Vian by Jan and Martin Ruzicka

Monsieur le Président

je ne veux pas le faire,

je ne suis pas sur terre

pour tuer de pauvres gens. 

(from 'Le déserteur')

For further reading: Boris Vian by D. Noakes (1964); Boris Vian: La Poursuite de la vie Totale by H. Baudin (1966); Boris Vian by J. Clouzet (1966); Boris Vian by M. Rybalka (1969); Les Vies parallèles de Boris Vian by N. Arnaud (1970); World Authors 1950-1970, ed. by John Wakeman (1975); From Dreams To Despair: An Integrated Reading of The Novels of Boris Vian by J.K.L Scott (1998); Boris Vian Transatlantic: Sources, Myths, and Dreams by Christopher M. Jones (1999); The Flight of the Angels: Intertextuality in Four Novels by Boris Vian by Alistair Charles Rolls (1999); Irresponsibly Engagé: Boris Vian and Uses of American Culture in France, 1940-1959 by Julie Kathleen Schweitzer (2005)

• Troubles dans les Andains
• L'équarissage pour tous, 1946 (play, performed in 1950) - The Knacker's ABC (tr. 1968) / Knackery for All (tr. in Plays for a New Theater, 1966)
• Vercoquin et le plancton, 1946
• J'irai cracher sur vos tombes, 1946 (as Vernon Sullivan) 
  - I Spit on Your Graves (tr. Boris Vian and Milton Rosenthal, 1948) 
  - Films: 1959, prod. Sipro, CIT, dir. by Michel Gast, starring Christian Marquand as Joe Grant ; 1971, Ipini boynunda bil, dir. Ferdi Merter, prod. by And Film (Turkey)
• Les morts ont tous la même peau, 1947 (as Vernon Sullivan) 
  - The Dead All Have the Same Skin (tr. Paul Knobloch, 2007)
• L'Écume des jours, 1947 
  - Froth on the Daydream (tr. Stanley Chapman, 1967) / Mood Indigo (tr. 1969) / Foam of the Daze (tr. Brian Harper, 2003) 
  - Päivien kuohu (suom. Leena Kirstinä, 1972) 
  - Films: 1968, prod. Chaumiane, S.E.P.I.C., dir. Charles Belmont, starring Jacques Perrin, Marie-France Pisier, Sami Frey, Alexandra Stewart; 2001, Kuroe, dir. by Gô Rijû, prod. by DENTSU Music And Entertainment (Japan); 2013, dir. Michel Gondry, starring Audrey Tautou, Romain Duris, Gad Elmaeh, Omar Sy
• L'Automne à Pékin, 1947 
  - Autumn in Peking (tr. Paul Knobloch, 2005)
• Fiesta, 1948 (opera, performed in Berlin)
• Barnum’s digest, 1948
• Et on tuera tous les affreux, 1948 (as Vernon Sullivan)
• Elles se rendent pas compte, 1948
• Les Fourmis, 1949 
  - Blues for a Black Cat & Other Stories (edited and translated by Julia Older, 1992)
• Cantilènes en gelée, 1949
• Elles se rendent pas compte, 1950 (Vernon Sullivan novel)
• L'Herbe rouge, 1950 
  - TV film 1985, dir. by Pierre Kast, starring Jean Sorel, Jean-Pierre Léaud, Mijou Kovacs, Franca Gonella
• L'Arrache-coeur, 1953 
  - Heartsnatcher (tr. Stanley Chapman, 1968)
• Le chevalier de neige, 1953
• En avant la Zizique..., 1958
• Les Bâtisseurs d'Empire ou le Schmurz, 1959 (play, performed at Jean Vilar's Théâtre Nationale Populaire) 
  - The Empire Builders (tr. Simon Taylor, 1967) 
  - TV film 1974, dir. by Jaime Jaimes, cast: Albert Simono, Micheline Presle, Stéphanie Loïk, Andréa Ferréol, Bruno Balp et al.
• Les Lurettes fourrées, 1962
• Je voudrais pas crever, 1962
• Le Dernier des métiers, 1965
• Le Goûter des généraux, 1965 (play, performed in Paris) 
  - The Generals's Tea Party (tr. Simon Taylor, 1967)
• Textes et chansons, 1966
• Trouble dans les Andais, 1966
• Chroniques de jazz, 1967
• Chansons et poèmes, 1967
• Théâtre inédit, 1970
• Le loup garou, 1970 
  - Films: 1998, Mona, les chiens, le désir et la mort, 1998, dir. by Jean-François Perfetti, starring Laura Favali, Richard Bohringer, Mariane Plasteig, Christophe Mie; 2007, À feu (animation), dir. by Vladimir Mavounia-Kouka
• Tête de Méduse, 1971
• Manuel de Saint-Germain-des-Prés, 1974 
  - Boris Vian's Manual of St. Germain des Pres (tr. Paul Knobloch, 2005)
• Chroniques du menteur, 1974
• Derrière la zizique, 1976 (ed. Michel Fauré)
• Traité de civisme, 1979 (ed. Raymond Queneau)
• Ecrits pornographiques, 1980 (ed. Noël Arnaud)
• Autres écrits sur le jazz, 1981 (ed. Claude Rameil) - Round About Close to Midnight: The Jazz Writings of Boris Vian (translated and edited by Mike Zwerin, 1988)
• Le Ratichon baigneur, 1981
• Opéras, 1982 (ed. Noël Arnaud)
• adaptation: Mademoiselle Julie, 1984 
  - TV drama from August Strindberg's play Fröken Julie, dir. by Yves-André Hubert, starring Fanny Ardant
• Oeuvres de Boris Vian, 1989
• Œuvres, 1999-2003 (15 vols., ed. Ursula Vian Kübler, Gilbert Pestureau et al.)

Spanish novelist, short story writer, and essayist. Muñoz Molina often incorporates elements of popular culture into his works, which combine modernist and postmodernist narrative strategies. In his novels, such as El invierno en Lisboa (1987), Beltenebros (1989), and El jinete polaco (1991), Muñoz Molina has reevaluated Spain's recent history, the Civil War, and the decades of dictatorship under Generalísimo Francisco Franco.

Antonio Muñoz Molina in New York

"Unconscious memory is the yeast of imagination." 

(in Sepharad, 2001)

Note: This article is under construction. (January 18, 2008.)

For further reading: The Gaze on the Past by Olga López-Valero Colbert (2007); Traces of Contamination: Unearthing the Francoist Legacy in Contemporary Spanish Discourse, edited by Eloy E. Merino and H. Rosi Song (2005); The Narrative of Antonio Munoz Molina by Lawrence Rich (1999); The Use of Film in Postmodern Fiction of Peter Handke, Robert Coover, Carlos Fuentes, and Antonio Munoz Molina by Ana Carlota Larrea (1991) - For further information: "Tócalo otra vez, Santiago." Mass Culture, Memory, and Identity in Antonio Muñoz Molina's El invierno en Lisboa by Timothy P. Reed, in Letras Hispanas, Vol.1, Issue 1, Fall 4

• El Robinsón urbano, 1984
• Diario del Nautilus, 1986
• Beatus Ille, 1986 - A Manuscript of Ashes (tr. Edith Grossman, 2008)
• El invierno en Lisboa, 1987 - Winter in Lisbon (tr. Sonia Soto, 1999) - Talvi Lissabonissa (suom. Tarja Härkönen, 1993) - Film 1991, dir. by José A. Zorrilla, starring Christian Vadim, Hélène de Saint-Père, Dizzy Gillespie, Eusebio Poncela
• Las otras vidas, 1988
• Beltenebros 1989 - Prince of Shadows (tr. Peter Bush, 1993) - Film 1991, dir. by Pilar Miró, starring Terence Stamp, Patsy Kensit, José Luis Gómez, Geraldine James
• El jinete polaco, 1991
• Córdoba de los Omeyas, 1991
• Los misterios de Madrid, 1992 - Madridin mysteerit (suom. Tarja Härkönen, 1994)
• La verdad de la ficción, 1992
• La realidad de la ficción, 1993
• Nada del otro mundo, 1993
• El bosque de Diana, 1994 (opera libretto, music by José García Román)
• El dueño del secreto, 1994
• Ardor guerrero, 1995
• Las apariencias, 1995
• La huerta del Edén, 1996
• Plenilunio, 1997 - Täysikuu (suom. Tarja Härkönen, 2003) - Film 1999, dir.  Imanol Uribe, starring Miguel Ángel Solá, Adriana Ozores, Juan Diego Botto, Fernando Fernán Gómez
• Escrito en un instante, 1997
• La colina de los sacrificios, 1998
• Carlota Fainberg, 1999
• Pura alegría, 1999
• La huella de unas palabras, 1999 (ed. José Manuel Fajardo)
• En ausencia de Blanca, 1999 - In Her Absence (tr. Esther Allen, 2006)
• Unas gafas de Pla, 2000
• Josè Guerrero: el artista que vuelve, 2001
• Sefarad, 2001 - Sepharad (tr. Margaret Sayers Peden, 2003) - Sefarad (suom. Tarja Härkönen, 2007)
• El jinete polaco, 2002 (rev.ed.) - Öinen ratsumies (suom. Tarja Härkönen, 2010)
• La vida por delante, 2002
• Las ventanas de Manhattan. 2004
• La poseída, 2005
• El viento de la Luna, 2006 - Kuun tuuli (suom. 2011)
• Días de diario, 2007
• La noche de los tiempos, 2009