Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.

Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.

One of the biggest stumbling blocks we hit when setting out to make our dreams come true is appreciating what is going well. Most of us have an unfortunate tendency to dwell on the problems rather than on the good things in our lives ... and then we wonder why things just seem to keep getting worse instead of better. In The Power of Appreciation in Everyday Life, psychologist Noelle Nelson explains how you can achieve success in every area of your life through transforming your beliefs with appreciation.

Fiction. Translated from the French by Paul Knobloch. Originally published in 1947. "In the Exopotamian desert, where hepatrols blossom and children collect little animals called sandpeepers, the sun shines in an unusual way: it produces eerie black zones whose mysteries remain unexplained. Above all, Vian's pecurilar way with language proves that, indeed, life in the desert is equal to none. Since unusual language is bound to produce unusual fiction, it follows that the story does not take place in the fall, nor is it set in China" - from the Foreword by Marc Lapprand. The fourth novel by Vian, who was a contemporary of Sartre and Beauvoir. His innovative style, cutting-edge during his lifetime, but only successful in the sixties, made him an icon of the May 1968 student movement.

It is a close study of four novels by Boris Vian. It aims to show how L'Ecume des jours, L'Automne a Pekin, L'Herbe rouge and L'Arrache-coeur form a unified and coherent tetralogy. By establishing close links between these four texts, it becomes possible to achieve a more comprehensive understanding, not only of the significance of the tetralogy in exposing a complex and multi-layered novelistic strategy at the heart of the vianesque, but of the individual novels as autonomous creations. An examination of the novels reveals that they are not merely joined to one another via a superficial network of textual similarities (that which I refer to as intratextuality), but that this intertwining is emblematic of a common method of narrative construction. Each Vian novel is dependent, for a thorough understanding of the text to be possible, upon the multiple lines of external influence running through it. The sources of this influence (which I refer to as intertextuality) are located in various major texts of twentieth century literature, anglophone as well as francophone. Thus, in each instance the narrative is driven by a complicated interaction of intratextuality and intertextuality."

A narrative about an engineer, Wolf, who invents a bizarre machine that allows him to revisit his past and erase inhibiting memories.