Escape to the streets of Paris for a day-long romp. Through a series of humorous journal entries and photos, an American traveler chronicles a day on the islands in the center of Paris - the Île Saint-Louis and Ile de la Cité. She narrowly escapes dropping 50 Euro at the flower market for a potted plant she can?t take on a plane, debates public make out sessions with the King of France, pulls a Jean Valjean and swipes a basket of bread, and witnesses a love-at-first-sight moment between two dogs. The Paris Journal brings the city, its people and apparently its former Kings to life.

The celebrated journalist's incisive accounts of social, political, and cultural developments in France

Experience postwar Europe through the diary of a fascinating and witty twentieth-century writer and artist. Recording his travels in France and Switzerland, Curzio Malaparte encounters famous figures such as Cocteau and Camus and captures the fraught, restless spirit of Paris after the trauma of war. In 1947 Curzio Malaparte returned to Paris for the first time in fourteen years. In between, he had been condemned by Mussolini to five years in exile and, on release, repeatedly imprisoned. In his intervals of freedom, he had been dispatched as a journalist to the Eastern Front, and though many of his reports from the bloodlands of Poland and Ukraine were censored, his experiences there became the basis for his unclassifiable postwar masterpiece and international bestseller, Kaputt. Now, returning to the one country that had always treated him well, the one country he had always loved, he was something of a star, albeit one that shines with a dusky and disturbing light. The journal he kept while in Paris records a range of meetings with remarkable people—Jean Cocteau and a dourly unwelcoming Albert Camus among them—and is full of Malaparte’s characteristically barbed reflections on the temper of the time. It is a perfect model of ambiguous reserve as well as humorous self-exposure. There is, for example, Malaparte’s curious custom of sitting out at night and barking along with the neighborhood dogs—dogs, after all, were his only friends when in exile. The French find it puzzling, to say the least; when it comes to Switzerland, it is grounds for prosecution!

This ingeniously useful compendium--organized to suit whatever time that the reader has available at that moment--offers reading material to fill those gray, in-between moments in life with beauty, wonder, insight, and emotion.

Jean-Philippe Delhomme, famed Paris-based illustrator, painter and cultural writer, knows his way around a paintbrush and has been jazzing up the likes of GQ, Wallpaper and W magazine with characterful depictions of faces, charming figures and lively street scenes for some time now. In 2015, he was asked by German newspaper Die Zeit to contribute a weekly column on Paris for their Sunday magazine. The project has now become Delhomme's newest book, A Paris Journal. This slender publication features over 60 color plates chronicling Delhomme's sensitive and humorous drawings of everyday life in Paris. From the celebrated swans in the Seine to the absurdities of the fashion-obsessed, the lighthearted illustrations offer salve to the two terrorist attacks that defined Paris in 2015. Delhomme has published several volumes of illustrated work, written a children's book, Visit to Another Planet, plus two illustrated novels, and produces animated television commercials. August Editions' past publication was Delhomme's The Happy Hipster (2013).

“Like All the Light We Cannot See, The Paris Hours explores the brutality of war and its lingering effects with cinematic intensity. The ending will leave you breathless.” —Christina Baker Kline, author of Orphan Train and A Piece of the World One day in the City of Light. One night in search of lost time. Paris between the wars teems with artists, writers, and musicians, a glittering crucible of genius. But amidst the dazzling creativity of the city’s most famous citizens, four regular people are each searching for something they’ve lost. Camille was the maid of Marcel Proust, and she has a secret: when she was asked to burn her employer’s notebooks, she saved one for herself. Now she is desperate to find it before her betrayal is revealed. Souren, an Armenian refugee, performs puppet shows for children that are nothing like the fairy tales they expect. Lovesick artist Guillaume is down on his luck and running from a debt he cannot repay—but when Gertrude Stein walks into his studio, he wonders if this is the day everything could change. And Jean-Paul is a journalist who tells other people’s stories, because his own is too painful to tell. When the quartet’s paths finally cross in an unforgettable climax, each discovers if they will find what they are looking for. Told over the course of a single day in 1927, The Paris Hours takes four ordinary people whose stories, told together, are as extraordinary as the glorious city they inhabit.

"Stuart Gilbert's friendship with James Joyce began in Paris in 1927 after Gilbert read several pages from a forthcoming French translation of Ulysses in the window of Sylvia Beach's Shakespeare and Company book shop and went in to tell Beach that the translation was poorly done. She reported the encounter to Joyce, who subsequently sought out Gilbert. Their meeting began a literary collaboration and friendship that lasted until Joyce's death in 1941." "This journal is a chronicle of that remarkable and productive friendship. Stuart Gilbert records many amusing anecdotes and provocative opinions regarding Joyce's social life, his relationship with his wife, Nora, and his compositional techniques for Finnegans Wake. Also included in the book are some of Joyce's previously unpublished letters to Gilbert (also reproduced in photographs), numerous unpublished photographs, and a typically dyspeptic 1941 essay on Joyce, Paul Leon, and Herbert Gorman by Gilbert. The volume is fully annotated and contains an introduction by noted Joyce scholar Thomas F. Staley." "These materials from the Stuart Gilbert Archive of the Harry Ransom Humanities Research Center at the University of Texas at Austin offer new perspectives on literary Paris of the 1920s and 1930s. They will be important for everyone interested in the modernist period."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved