In this revelatory volume, Roberto Calasso, whom the Paris Review has called 'a literary institution', explores the ancient texts known as the Vedas. Little is known about the Vedic people who lived more than three thousand years ago in northern India: they left behind almost no objects, images, ruins. They created no empires. Even the hallucinogenic plant, the soma, which appears at the centre of some of their rituals, has not been identified with any certainty. Only a 'Parthenon of words' remains: verses and formulations suggesting a daring understanding of life. 'If the Vedic people had been asked why they did not build cities,' writes Calasso, 'they could have replied: we did not seek power, but rapture.' This is the ardor of the Vedic world, a burning intensity that is always present, both in the mind and in the cosmos. With his signature erudition and profound sense of the past, Calasso explores the enigmatic web of ritual and myth that define the Vedas. Often at odds with modern thought, he shows how these texts illuminate the nature of consciousness more than neuroscientists have been able to offer us up to now. Following the 'hundred paths' of the Satapatha Brahmana, an impressive exegesis of Vedic ritual, Ardor indicates that it may be possible to reach what is closest by passing through that which is most remote, as 'the whole of Vedic India was an attempt to think further'.

Discussing Jewish themes in Ozick's writings, examines the literary evocation of the Holocaust in the novels "Trust" (1966), "The Messiah of Stockholm" (1987), and in the story "The Shawl" (1989).

"Mission Impossible, but with magic, dragons, and a series of heists that go from stealing a crown to saving the world" (David Dalglish). Master con artist Ardor Benn and his crew of intrepid thieves are hired to pull off a series of wildly complex heists, from stealing a crown to saving the world, in this daring fantasy adventure. Liar. Thief. Legend. Ardor Benn is no ordinary thief. Rakish, ambitious, and master of wildly complex heists, he styles himself a Ruse Artist Extraordinaire. When a priest hires him for the most daring ruse yet, Ardor knows he'll need more than quick wit and sleight of hand. Assembling a dream team of forgers, disguisers, schemers, and thieves, he sets out to steal from the most powerful king the realm has ever known. But it soon becomes clear there's more at stake than fame and glory -- Ard and his team might just be the last hope for human civilization. Discover the start of an epic fantasy trilogy that begins with a heist and quickly explodes into a full-tilt, last ditch plan to save humanity.

Ardor, inspiration, the soul, the sublime: Such terms have long since fallen from favor among critics and artists alike. In his new collection of essays, Adam Zagajewski continues his efforts to reclaim for art not just the terms but the scanted spiritual dimension of modern human existence that they stake out. Bringing gravity and grace to his meditations on art, society, and history, Zagajewski wears his erudition lightly, with a disarming blend of modesty and humor. His topics range from autobiography (his first visit to a post-Soviet Lvov after childhood exile; his illicit readings of Nietzsche in Communist Poland); to considerations of artist friends past and present (Zbigniew Herbert, Czeslaw Milosz); to intellectual and psychological portraits of cities he has known, east and west; to a dazzling thumbnail sketch of postwar Polish poetry. Zagajewski gives an account of the place of art in the modern age that distinguishes his self-proclaimed liberal vision from the "right-wing radicalism" of such modernist precursors as Eliot or Yeats. The same mixture of ardor and compassion that marks Zagajewski's distinctive contribution to modern poetry runs throughout this eloquent, engaging collection.

Published two weeks after his seventieth birthday, Ada, or Ardor is one of Nabokov's greatest masterpieces, the glorious culmination of his career as a novelist. It tells a love story troubled by incest. But more: it is also at once a fairy tale, epic, philosophical treatise on the nature of time, parody of the history of the novel, and erotic catalogue. Ada, or Ardor is no less than the superb work of an imagination at white heat. This is the first American edition to include the extensive and ingeniously sardonic appendix by the author, written under the anagrammatic pseudonym Vivian Darkbloom.