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His rise testifies to the decline of a whole society.’ Jean-Paul Sartre Maupassant’s second novel, Bel-Ami (1885) is the story of a ruthlessly ambitious young man (Georges Duroy, christened ‘Bel-Ami’ by his female admirers) making it to the top in fin-de-siècle Paris. It is a novel about money, sex, and power, set against the background of the politics of the French colonization of North Africa. It explores the dynamics of an urban society uncomfortably close to our own and is a devastating satire of the sleaziness of contemporary journalism. Bel-Ami enjoys the status of an authentic record of the apotheosis of bourgeois capitalism under the Third Republic. But the creative tension between its analysis of modern behaviour and its identifiably late nineteenth-century fabric is one of the reasons why Bel-Ami remains one of the finest French novels of its time, as well as being recognized as Maupassant’s greatest achievement as a novelist.

(from http://ukcatalogue.oup.com). Enriched editions

Edited by Coralie Besse and Marie Laffont. Download here

Lecture publique d’une adaptation de Bel-Ami de Guy de Maupassant par les élèves de Jean-Paul Carminati, Atelier de formation continue « VOIX AU CHAPITRE » de l’Université Paris Sorbonne (Paris IV).

Immagine

Questo libro è un’epica straordinaria. Un romanzo che mi ha colpito, ferito, preso per mano, fra le viscere delll’uomo, lo schiaffo, lo sputo, la verità e la bellezza. ( il download è possibile qui,  al momento, prossimamente in tutti gli store on line).

La premessa di Ianus Pravo ( dal testo)

Premessa

 Scrissi questo testo a metà del 1998, in un Moleskine. Erano pagine non destinate ad occhi altrui. Ad anni di distanza mi è ricapitato in mano il quaderno compagno di molti viaggi e di quella primavera-estate a Beer Sheva, la città di Abramo. Il racconto, in alcune parti stenografico, mi ha stranamente parlato di luce, di occhi. Ho connesso, sviluppandole, le parti abbozzate con quelle compiute, correggendo di queste solo qualche inesattezza. Nei reali eventi che narro, ho mutato alcuni nomi, luoghi, date, e circostanze, per evitare la persecuzione penale dei protagonisti.

Quanto all’Io, è la marchetta che pago alla mia umanità, è risaputo che è un Altro. È quest’Altro a dirmi. E quanto a Dio, Egli ha la tristezza del creditore. Rivuole me stesso, che Egli è, ma avrà se stesso, che io sono. Dio è la parola più squalificata: è la mia ultima parola. Io dico dico, ma il detto non dice che il suo tacere. Tacere è bello. Ma il più bel tacere non fu mai taciuto, il più bel tacere non fu mai bello: fu il riso spento, e non fu mai.

Note biografiche

Ianus Pravo è nato, suo malgrado, e vive, suo malgrado. Egli è unico, quindi è uno di troppo. Non vuole amare, perché chi vuole amare ciò che fa non è amare, ma volere. Vive, suo malgrado, nella folle idea che non è ancora tardi per morire a vent’anni.

Ha pubblicato i libri di poesia “Mudrà” (AM Edizioni Marotta, 2004), “Nostra Signora d’Auschwitz” (Azimut, 2007), e, insieme a Leopoldo María Panero, “Senz’arma che dia carne all’imperium” (Società Editrice Fiorentina, 2011).

Ha tradotto dallo spagnolo “Narciso nell’accordo estremo dei flauti” (Azimut 2005) e “Dal manicomio di Mondragón” (Azimut 2007), di Leopoldo María Panero. Sempre di L. M. Panero, ha curato e tradotto, insieme a Sebastiano Gatto, “Peter Pan non è che un nome”, poesie scelte 1970-2009 (Il Ponte del Sale, 2011).Ha curato la traduzione in castigliano dei “Canti Orfici” di Dino Campana (Ediciones Caracol Nocturno, 1999).

La bellissima “Madonna Ferita” che è immagine di copertina è di Silvia Tripodi.

Due notti di febbrile, incessante insonnia. La notte occupata da una scrittura che torna a farsi “possedere” dalla passione e a narrare un sogno? una visione? una realtà? una speranza? Qualcosa di sovversivo e impensabile, qualcosa di impalpabile e indefinibile che avviene fra un uomo e una donna. Anime di carne, sfregiate da una ferita antica. Breve e intenso “fuoricatalogo”, disponibile per un periodo di tempo limitato. Dalla scrittrice che è stata definita dal settimanale “L’Espresso”:”la più nota scrittrice erotic-chic italiana”

Two nights of feverish, relentless insomnia. The night occupied by writing and writing, “possessed” by the passion. What is this about? a dream? a vision? a reality? a hope? Something intangible and indefinable that happens between a man and a woman. Souls of flesh, scarred by a old wound, in this special edition out of catalog. From the writer who has been defined by the weekly “L’Espresso”: “the most famous Italian erotic-chic writer”.

Download here
and here

“Jacob’s Room was published in 1922, Woolf’s third novel.  Jacob is usually thought to represent Woolf’s brother, Thoby, who died at the age of 25 in 1906.  The story follows Jacob from his childhood in Cornwall through his education at Cambridge, his life in London, a trip to Greece, and finally his death in World War I. Betty Flanders, his mother, is a widow. Jacob’s brother, Archer, will also fight in the war. Other characters are the Reverend Andrew Floyd, who proposes to Betty and is turned down. Captain Barfoot, a man with a disabled wife, is a friend and frequent visitor of Betty’s. At Cambridge, Timothy Durrant is a friend; his sister, Clara, is an ongoing character who is attracted to Jacob, but the relationship never develops. Richard Bonamy is a Cambridge friend who becomes a closer friend in London. Florinda is a loose and sexy interlude. Nick Branham is an artist who introduces Jacob to his model, Fanny Elmer, who falls in love with him. Jacob visits friends in Paris, then goes on to Greece where he falls in love with a married woman, Sandra Wentworth Williams. In the last chapter, Richard and Betty are in Jacob’s room, going through his things; thus we know that Jacob is dead.  Many critics have noted that Jacob seems to move like a ghost through the book, that the emphasis is on the impossibility of knowing anyone. At the last, we may feel that even though we know the sequence and some moment by moment events of Jacob’s life, we never know him — we see his life as if the moments had already evaporated — as if he were already dead.” ( From this site )

Special editions with appendix of vintage covers and images. Edited by Paul Hessel and Francesca Mazzucato+

download  here

 

 

 

 

 

 

 

An idea that we have long planned and organized. An ebook and an ancient book, rare or hard to find, we sell them together. Sometimes we will  propose special  combinations, other times we will be available to your requests. Digital books and paper books together. We have organized everything very carefully and we are ready to start.

Here you find our first proposal.  At a special prize. In collaborations with individual and with international librarians.
Please write to: coralie.besse@erranteditions.org

francesca.mazzucato@erranteditions.org.

editionserrantes@gmail.com

 

Sometimes it will be the ebook for free, sometimes the book, sometimes they will be sold together at a special price. We start with “Camillo Boito, Senso e altri racconti” with Hotel Gregory in italian or english editions. Together, 4,50 euro.

Write here: editionserrantes@gmail.com

or coralie.besse1@gmail.com

And it’s just the beginning of our vintage market.


Errant Editions.


 

 

 

 

 

 

 

 

 

 

 

 

 

Some of the most important poems of Eliot in an edition enriched by links. Edited by Paul Hessel who is responsible of Eliot Project and  is working on an important essay on the poet’s whole work, which will soon be published by Errant Editions. ( translated in three languages)

With a videoreading of Eliot from Four Quartets

download here

Immagine

Night and Day is the second novel by Virginia Woolf and was published in 1919. A great exploration of human emotions – the daily lives of two friends, Katharine and Mary. Written with incredible talent, skill, it is about love, relationships, loneliness. This ebook is edited by Paul Hessel, with an appendix of vintage covers of the novel.

Download here

Here

“The only surviving recording of Virginia Woolf’s voice. It is part of a BBC radio broadcast from April 29th, 1937. The talk was called “Craftsmanship” and was part of a series entitled “Words Fail Me”.
The audio is accompanied by a slideshow of photographs of Virginia Woolf.”

( from this  channel)

With this ebook begins Woolf Porject, directed by Paul Hessel, connected with Criticism Project

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