El libro contiene ocho historias dedicadas a la vida en Moscú y la URSS en los años setenta del siglo XX. Estos son mis recuerdos de infancia, padres, amigos y escuela. Sobre cómo vivían los niños en ese tiempo. En este libro, traté de transmitir mis sensaciones y percepción de la infancia y de aquellos años.

El libro consiste de 8 cuentos cortos no adaptados para traducción del español. Para traducir es necesario conocer los temas gramaticales: concordancia de los tiempos verbales, oraciones condicionales de 1 a 4 tipos, voz pasiva, gerundio, participios etc. El libro contiene 1829 palabras y expresiones idiomáticas. Todos los cuentos tienen llaves. Se recomienda para escolares, estudiantes y para una amplia gama de personas que estudian español.

El libro contiene cinco cuentos dedicados a la vida en Moscú y la URSS en los años setenta del siglo XX. Son mis recuerdos de infancia, padres, amigos y escuela. Sobre cómo vivían los niños en ese tiempo. En este libro, traté de transmitir mis sensaciones y percepción de la infancia y de aquellos años.

I Burn Paris has remained one of Poland's most uncomfortable masterstrokes of literature since its initial and controversial serialization by Henri Barbusse in 1928 in L'Humanite (for which Jasienski was deported for disseminating subversive literature). It tells the story of a disgruntled factory worker who, finding himself on the streets, takes the opportunity to poison Paris's water supply. With the deaths piling up, we encounter Chinese communists, rabbis, disillusioned scientists, embittered Russian emigres, French communards and royalists, American millionaires and a host of others as the city sections off into ethnic enclaves and everyone plots their route of escape. At the heart of the cosmopolitan city is a deep-rooted xenophobia and hatred - the one thread that binds all these groups together. As Paris is brought to ruin, Jasienski issues a rallying cry to the downtrodden of the world, mixing strains of "The Internationale" with a broadcast of popular music. With its montage strategies reminiscent of early avant-garde cinema and fist-to-the-gut metaphors, I Burn Paris has lost none of its vitality and vigor. Ruthlessly dissecting various utopian fantasies, Jasienski is out to disorient, and he has a seemingly limitless ability to transform the Parisian landscape into the product of disease-addled minds. An exquisite example of literary Futurism and Catastrophism, the novel presents a filthy, degenerated world where factories and machines have replaced the human and economic relationships have turned just about everyone into a prostitute. Yet rather than cliche and simplistic propaganda, there is an immediacy to the writing, and the modern metropolis is starkly depicted as only superficially cosmopolitan, as hostile and animalistic at its core. This English translation of I Burn Paris fills a major gap in the availability of works from the interwar Polish avant-garde, an artistic phenomenon receiving growing attention of late.

'An eerily familiar reflection of our current moment ... It continues to haunt me' NATASHA BROWN, I PAPER BOOKS OF THE YEAR 'I will go wherever she takes me. A phenomenal book' DAISY JOHNSON 'A brilliant, scalding novel ... sharp, intricately layered, impossible to forget' MEGAN HUNTER 'Stunning ... beautifully written and deeply unsettling' BOOKSELLER, EDITOR'S CHOICE CHOSEN AS A 2021 BOOK TO LOOK OUT FOR BY OBSERVER, INDEPENDENT, FINANCIAL TIMES, EVENING STANDARD, GRAZIA, STYLIST, ELLE THE NATIONAL, FIVE BOOKS AND BURO A couple drive from London to coastal Provence. Anya is preoccupied with what she feels is a relationship on the verge; unequal, precarious. Luke, reserved, stoic, gives away nothing. As the sun sets one evening, he proposes, and they return to London engaged. But planning a wedding does little to settle Anya's unease. As a child, she escaped from Sarajevo, and the idea of security is as alien now as it was then. When social convention forces Anya to return, she begins to change. The past she sought to contain for as long as she can remember resurfaces, and the hot summer builds to a startling climax. Lean, sly and unsettling, Asylum Road is about the many borders governing our lives: between men and women, assimilation and otherness, nations, families, order and chaos. What happens, and who do we become, when they break down?

A Comparative History of Literatures in the Iberian Peninsula is the second comparative history of a new subseries with a regional focus, published by the Coordinating Committee of the International Comparative Literature Association. As its predecessor for East-Central Europe, this two-volume history distances itself from traditional histories built around periods and movements, and explores, from a comparative viewpoint, a space considered to be a powerful symbol of inter-literary relations. Both the geographical pertinence and its symbolic condition are obviously discussed, when not even contested. Written by an international team of researchers who are specialists in the field, this history is the first attempt at applying a comparative approach to the plurilingual and multicultural literatures in the Iberian Peninsula. The aim of comprehensiveness is abandoned in favor of a diverse and extensive array of key issues for a comparative agenda. A Comparative History of Literatures in the Iberian Peninsula undermines the primacy claimed for national and linguistic boundaries, and provides a geo-cultural account of literary inter-systems which cannot otherwise be explained.

INTERNATIONAL BESTSELLER • A novel of the Spanish Civil War, a modern classic, and a searing exploration of the unknowability of history, by the acclaimed author of Outlaws In the waning days of the Spanish Civil War, an unknown militiaman discovered a Nationalist prisoner who had fled a firing squad and taken refuge in the forest. But instead of killing him, the soldier simply turned and walked away. The prisoner, Rafael Sánchez Mazas—writer, fascist, and founder of the Spanish Falange—went on to become a national hero and ultimately a minister in Franco's first government. The soldier disappeared into history. Sixty years later, Javier Cercas—or at least, a character who shares his name—sifts through the evidence to establish what really happened that day. Who was the soldier? Why didn't he shoot? And who was the true hero in the story? Every answer yields another question in this powerful and elegantly constructed novel about truth, memory, and war.