The Book Of Katerina

In this acclaimed Greek novel, Auguste Corteau imagines his own mothers inner life, observing with wit and earthyhumour the saga of her extended familys ups and downs in the city of Thessaloniki over three generations.

From the New York Times bestselling author of A Million Little Pieces and Bright Shiny Morning comes Katerina, James Frey’s highly anticipated new novel set in 1992 Paris and contemporary Los Angeles. A kiss, a touch. A smile and a beating heart. Love and sex and dreams, art and drugs and the madness of youth. Betrayal and heartbreak, regret and pain, the melancholy of age. Katerina, the explosive new novel by America’s most controversial writer, is a sweeping love story alternating between 1992 Paris and Los Angeles in 2018. At its center are a young writer and a young model on the verge of fame, both reckless, impulsive, addicted, and deeply in love. Twenty-five years later, the writer is rich, famous, and numb, and he wants to drive his car into a tree, when he receives an anonymous message that draws him back to the life, and possibly the love, he abandoned years prior. Written in the same percussive, propulsive, dazzling, breathtaking style as A Million Little Pieces, Katerina echoes and complements that most controversial of memoirs, and plays with the same issues of fiction and reality that created, nearly destroyed, and then recreated James Frey in the American imagination.

The #1 bestseller with over a quarter of a million copies sold ‘A terrific story, originally told. All hail the new Queen of Crime!’ HEAT ‘A web of a plot that twists and turns and keeps the reader on the edge of their seat. This formidable debut is a page-turner, but don’t read it before bed if you’re easily spooked!’ SUN

The 1840s: a time of increasing social awareness, particularly for progressive cotton mill owner Adrian Bennett and his son Christopher. One social issue Christopher has never considered is violence against women. A Robert Browning poem and a chance encounter with Katerina Valentino change everything. Katerina fears for her life because of her father's violent behavior. When Christopher is entranced by the delicate, dark-haired beauty, he decides to rescue her - by marrying her. But Katerina's years of abuse have left her physically and emotionally scarred, threatening the newlyweds' happiness. Is Christopher's tender affection enough to help heal Katerina's broken spirit? This book contains graphic sex and is not suitable for readers under the age of 18.

In Arcadia, winter has no heart.I make magic dresses for a living. I'm not rich or pretty enough to wear them, but I love what I do, working out of my family's shop on Carnaby Street in London-until the fae show up.It's a straight-up kidnapping, and before I know it, I'm brought to this wintry place of cold hearts and beautiful nightmares, but that's not the worst part.The worst part is, they think I'm fae, and I'm supposed to participate in some competition against a host of other women who have been training their whole lives for this. The prize? The winner is to marry the Prince.On the surface that sounds almost like a fairytale, only this competition is brutal and bloody, and the Prince is the jerk that kidnapped me. I can't get too close to him or he'll know I'm not fae, and then I'm dead. But I want to get close to him. His body burns with the fire of a cold star, and I'm drawn to him.I need to fight the pull and survive long enough to find a way out of here, but these winter fae won't make that easy.

Thirteen-year-old Trina's family left Bohemia for a Colorado coal town to earn money to buy a farm. But by 1901 she doubts that either hard work or hoping will be enough, even after a strange fish seems to grant her sisters' wishes.

Traces the life of Bakhtin, a Russian literary critic recently rediscovered, and discusses his major works on Freud, Dostoevsky, Rabelais, Marxism, and the philosophy of language.

Following François Laruelle's nonstandard philosophy and the work of Judith Butler, Drucilla Cornell, Luce Irigaray, and Rosi Braidotti, Katerina Kolozova reclaims the relevance of categories traditionally rendered "unthinkable" by postmodern feminist philosophies, such as "the real," "the one," "the limit," and "finality," thus critically repositioning poststructuralist feminist philosophy and gender/queer studies. Poststructuralist (feminist) theory sees the subject as a purely linguistic category, as always already multiple, as always already nonfixed and fluctuating, as limitless discursivity, and as constitutively detached from the instance of the real. This reconceptualization is based on the exclusion of and dichotomous opposition to notions of the real, the one (unity and continuity), and the stable. The non-philosophical reading of postructuralist philosophy engenders new forms of universalisms for global debate and action, expressed in a language the world can understand. It also liberates theory from ideological paralysis, recasting the real as an immediately experienced human condition determined by gender, race, and social and economic circumstance.