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Published in 1880, one year before Verga’s influential novel The Malavoglias, Life in the Country first marked his stylistic shift towards the verismo school of Italian realism. The collection’s centrepiece, ‘Rustic Honour’ (‘Cavalleria rusticana’) – which was famously adapted into a play by the author before becoming an opera by Mascagni – tells the tale of Turiddu, a poor young man who returns from military service and finds himself embroiled in adultery and a feud with a rival. Also including the well-known stories ‘She-Wolf’ and ‘Foxfur’, Life in the Country captures, in an objective, non-judgemental prose, the difficult conditions and personal struggles of the peasant class in his native Sicily at the turn of the twentieth century.

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Dante is known to most readers outside Italy for his gritty descriptions of the Inferno, but there is another, gentler side to his poetry, which found expression throughout his career in verses that made him, together with his friend Guido Cavalcanti, the leading love poet of his generation. From the ballads and rime of his youth to the heart-rending lyrics written on the death of Beatrice and the more sober, philosophical canzoni of his later years, this volume provides the only English edition of the great Florentine’s complete love poems, in brilliant verse translations by Dante specialists J.G. Nichols and Anthony Mortimer.

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The first story in this volume, How the Two Ivans Quarrelled, is an amusing portrayal of two exceptionally close friends, the mortal insult that drives them apart, and the ensuing chaos that occurs. This is Gogol’s humour at its best, where the most irrelevant-seeming details and turns of phrase take on a bizarre life of their own. Ivan Krylov’s Panegyric in Memory of My Grandfather has an ingenuous narrator praise the nobility and modesty of a landowner whose actions prove him to be otherwise. The two tales by Mikhail Saltykov are satirical attacks on civil servants and Russia’s autocracy. The final piece, Tolstoy’s Ivan the Fool, is a playful and allegorical critique of contemporary Russian society. Together, they represent some of Russia’s finest comic writing before the twentieth century.

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Based on a famous Spanish folk tale and set in rural Andalusia, The Three-Cornered Hat recounts the tribulations of a lecherous local magistrate as he attempts to have his way with the miller’s beautiful but devoted wife, with unforeseen and hilarious consequences. Alarcon’s astute blend of slapstick and comedy of manners provides both timeless entertainment and a sharp satire on the corruption of rural officials and the politics of lust and seduction.

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As a group of Western tourists travel down the Nile on the steamer Korosko towards the historical sites near Egypt’s southern border, they are kidnapped by a marauding band of dervishes who demand their conversion to Islam. Cut off from the world, deprived of the comforts of civilized society and shaken in their beliefs, they will have to overcome the most arduous obstacles to regain their freedom and safety. Written towards the end of the Victorian era and permeated with a sense of fear and uncertainty, The Tragedy of the Korosko calls into question the moral authority of Europe’s presence in the Arab peninsula and the cultural supremacy of British colonialism, all the while demonstrating Conan Doyle’s unparalleled ability as a storyteller.

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One of Twain’s most celebrated novellas, ‘The Man That Corrupted Hadleyburg’ is a satirical retelling of the Garden of Eden story in the Bible, in which the author, mocking the supposed honesty and incorruptibility of the inhabitants of an imaginary American town, shows how man is fundamentally bad and cannot resist the temptations of gold. This collection also includes another acclaimed novella, ‘A Double-Barrelled Detective Story’, a spoof of the mystery genre featuring Sherlock Holmes in the American West, as well as lesser-known narratives such as ‘The Belated Russian Passport’ and ‘The Death Disk’. Together, these tales are a testament to Twain’s inexhaustible gift for invention and his skills as a storyteller.

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As a first-time visitor to London, De Amicis was awestruck by the bustle and magnificence of the Victorian metropolis and wrote a number of sketches in his trademark witty, observational style, which made him one of the best-selling travel writers of his age. Originally conceived as a series of newspaper articles and later published in volume form, De Amici's 'Memories of London' brings back to life all the bygone charm of the capital of the British Empire. De Amici's impressions are paired here with a piece written by one of his contemporaries, the French writer Louis Laurent Simonin, which leaves the city's opulence and granduer behind and offers an uncompromising look at the poverty and squalor of its most deprived areas.

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‘Atala’, published in 1801, tells the tragic tale of the eponymous heroine, the mixed-race Christian daughter of a Native American chief, who saves the captured Chactas and tragically falls in love with him. ‘René’, published the following year, is the seminal portrait of the sensitive and world-weary young Romantic hero who attempts to flee civilization and pursue a life in the wilderness of Louisiana. Referred to by their author as his passionate twins and intended to provide an illustration of the original, primitive virtues of Christianity, the two novellas were hugely successful in their time, thanks to their vivid depictions of exotic locations and their attunement to the emotional sensitivities of the age. They also helped shape European Romantic archetypes which would bear resonance throughout the nineteenth century and profoundly mark its literature and art.

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A.J. Cronin, author of some of the best-loved novels of the mid-twentieth century and the creator of Dr Finlay, has been unjustly overlooked by literary biographers. In this, the first fulllength life of this eminent and unjustly neglected writer, Alan Davies recounts the story of Cronin’s Scottish childhood as the son of a Protestant mother and Catholic father, his subsequent medical career and his rise to literary prominence, emphasizing throughout the importance of holding at arm’s length many of the apocryphal tales that have accumulated around the memory of the author of Hatter’s Castle, The Citadel and The Stars Look Down, many of which are based on mistaken autobiographical readings of Cronin’s fiction itself. Incorporating an account of Cronin’s tempestuous relationship with his publisher, Victor Gollancz, and new revelations about the author’s private life, Davies’s book paints a clearer portrait of both Cronin the writer and Cronin the man.

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Buster was the first, and arguably the most traditional, work of fiction by Alan Burns – dating from before his aleatoric style developed into “cutting up”, but displaying early examples of the trademark disjointed, brisk and biting style which earned him a cult following. Imbued with autobiographical sentiment, the novel shows a young man’s upbringing during World War II and his disillusioned vision of the post-war world. Never before published in standalone volume form since its original publication in the inaugural New Writers anthology in 1961, Buster is characteristically succinct and of huge literary merit, but in its autobiographical and pre-aleatoric style it provides, perhaps more importantly, a key to understanding the rest of Burns’s works.

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Celebrations, Alan Burns’s third novel, brings the inherent violence and oppression so apparent in Europe after the Rain into the setting of a family-owned factory, where social hierarchies, legal structures and humiliation keep the workers in line. By bringing the differences between workers sharply into focus, Burns creates a choking atmosphere of oppression and exploitation – heightened and upended by his trademark aleatoric style, peppering with seemingly random headlines and offcuts the text, which has not lost any of either its relevance or its acerbic bite in the intervening years.

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First published in French magazines in the 1960s, the essays and interviews collected in this volume tackle two of Sartre’s most enduring concerns as a philosopher: politics and literature. With regard to the former, they develop the notion of the intellectual not only as an aloof theoretician, but also as a constructive agent of change. His writings on literature explore the limitations of language as an exact vehicle for meaning, the author’s lack of ownership of his own words and the avenues that certain types of theatre such as Artaud’s open for non-verbal communication. A useful, concise introduction to Sartre’s thinking, Politics and Literature investigates concepts and highlights conflicts, interrogations and debates that remain topical and relevant to this day.

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These Opera Guides are ideal companions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. ‘Puccini’s motto could be: “The maximum effect with the simplest means”,’ suggests Bernard Keeffe. He analyses different aspects of the score, noting particularly Puccini’s genius for orchestration, and the infinitely subtle effects that give the melodrama irresistible vitality. Stuart Woolfe’s scholarly assessment of the significance of the historical themes for Puccini explains many of the motives of the protagonists. Tosca is a supreme example of music’s power to enthral an audience and Bernard Williams discusses the particular quality of its appeal.

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It used to be thought that Verdi miscalculated with this attempt at a “grand opera” in the French style. This guide demonstrates that Don Carlos was – and remains – an extraordinary achievement in melding two opposing visions of opera: the spectacular public aspect of the French tradition with the dramatic concision of the Italian. And because of the variety of versions which Verdi sanctioned, this debate is open-ended. Contents: A Grand Opera with a Difference, Julian Budden; Off the Beaten Track, Gilles de Van; “A Family Portrait in a Royal Household”: ‘Don Carlos’ from Schiller to Verdi, F.J. Lamport; Stendhal’s ‘Don Carlos’: “The most moving opera ever written”, by Nicholas Cronk; Don Carlos: Grand Opera in Five Acts by Joseph Méry and Camille du Locle; Don Carlo: Italian translation by Achille de Lauzières and Angelo Zanardini with additional material translated by Piero Faggioni; Don Carlos: English translation by Andrew Porter; Introduction by Jennifer Batchelor

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Monteverdi’s 1607 version of the legend of Orpheus is arguably the first masterpiece of opera. Composed for the court of Mantua, where Monteverdi was employed, it is very different from his two other surviving operas, which he wrote more than thirty years later to entertain Venetian audiences in the first public opera houses. Orfeo was long considered untranslatable, because the text is so closely tied to the music, and the Venetian librettos owe some of their brilliance to Spanish Golden Age theatre. This opera guide is an opportunity to read all three of Monteverdi’s stage works together, in Anne Ridler’s graceful translations. Contents: Operas contained in this volume: Orfeo, Il ritorno di Ulisse in patria, L’incoronazione di Poppea; Monteverdi, Opera and History, lain Fenlon; On Translating Opera, Anne Ridler; PART ONE: Mantua; A masterpiece for a Court, John Whenham; Music Examples; ‘Orfeo’: Favola in musica by Alessandro Striggio the Younger; Orfeo: English singing version by Anne Ridler; PART TWO: Venice; Musical Theatre in Venice, Paolo Fabbri; The Spanish Contribution to the Birth of Opera, Jack Sage; Monteverdi Returns to his Homeland, Tim Carter; Musical Examples; ll ritorno d’Ulisse in patria: Dramma in musica by Giacomo Badoaro; The Return of Ulysses: English singing version by Anne Ridler; Public Vice, Private Virtue, lain Fenlon and Peter Miller; Musical Examples; L’incoronazione di Poppea: Opera musicale by Giovanni Francesco Busenello; The Coronation of Poppea: English singing version by Anne Ridler

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Richard Wagner’s fifteen-hour operatic cycle The Ring of the Nibelung ends with this great music drama. Michael Tanner’s essay tackles the scale and meaning not just of this work but of Wagner’s whole undertaking, showing that Götterdämmerung is – for all its length – his fastest-moving drama. Composer Robin Holloway brings the focus of creative genius to his discussion of the score, while Christopher Winkle’s article analyses Brunnhilde’s concluding monologue. The ninety numbered musical themes of the Thematic Guide are cross-referenced to the other Ring guides. Contents: An Introduction to the End, Michael Tanner; Motif, Memory and Meaning in ‘Twilight of the Gods’, Robin Holloway; The Questionable Lightness of Being: Brunnhilde’s Peroration to ‘The Ring’, Christopher Wintle; Götterdämmerung: Poem by Richard Wagner; Twilight of the Gods: English translation by Andrew Porter

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This double volume contains two masterpieces of the Czech composer Leoš Janácek. Jenufa was the opera which finally brought him international recognition – and, with it, fame at home. Based on Ostrovsky’s The Storm, Katya Kabanova contains wonderful music inspired by the composer’s love for a much younger woman. The scores are discussed by Arnold Whittall, and the background sources are variously introduced by social and literary historians. John Tyrell comments on an important letter about the genesis of Katya; Sir Charles Mackerras describes his work as an interpreter and advocate of this brilliantly original and dramatic music. Contents: A National Composer Jaroslav Krejci; Drama into Libretto, Karel Brusak; The Challenge from Within: Janácek’s Musico-dramatic Mastery, Arnold Whittall; Janácek and Czech Realism, Jan Smaczny; Jenufa: Libretto by Leoš Janácek; Jenufa: English translation by Otakar Kraus and Edward Downes; A Russian Heart of Darkness, Alex de Jonge; Janácek’s forgotten commentary on ‘Katya Kabanova’, John Tyrrell; Katya Kabanova: Libretto by Leoš Janácek; Katya Kabanova: English translation by Norman Tucker; Janácek’s Operas – Preparation and Performance, Charles Mackerras

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Although it is impossible to trace any one particular theme running through the operas of Michael Tippett, the libretti of his four operas are fascinating to compare. The dense allusions of The Midsummer Marriage (1955), here annotated, gave way to the classical formality of King Priam (1962); the psychoanalytical preoccupations of The Knot Garden (1970) hardly foreshadow the contemporary political commentary of The Ice Break (1977). Each work breaks new ground and provokes unexpected responses. The libretti offer unique introductions to the music, and throw a searching light on the direction of British theatre since 1945. Contents: Operas contained in this volume: The Midsummer Marriage, King Priam, The Knot Garden, The Ice Break; Introduction, Meirion Bowen; A Ritual of Renewal, Paul Driver; ‘A Visionary Night’, John Lloyd Davies; Music for an Epic, Andrew Clements; A Tempest of Our Time, Meirion Bowen; Stereotypes and Rebirth, Leslie East

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This opera has been described as "the longest single smile in the German language". But Roland Matthews indicates that violence is not far beneath the surface of this portrait of medieval Nuremberg. Arnold Whittall's analysis gives a bird's-eye view of the complexity of the score. Timothy McFarland explores the significance of the choice of subject: that nostalgia for a pre-industrial community, which was a symptom of the German nationalist movement. The long text has many subtleties which opera audiences can hardly appreciate without reading it, and the musical themes are numbered to indicate where they occur. Contents: 'My most genial creation...', Roland Matthews; A Musical Commentary, Amold Whittall; Wagner's Nuremberg, Timothy McFarland; Die Meistersingers von Nurnberg: Poem by Richard Wagner; The Mastersingers of Nuremberg: English translation by Frederick Jameson, revised by Gordon Kember and Norman Feasey

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John Wells introduces the opera with a high-spirited account of the action-packed career of the author, in many respects the prototype of Figaro himself. Basil Deane explores the score: he shows that Mozart's characters are illuminated here not so much in soliloquies but in their reactions to each other. Composer Stephen Oliver discusses how the comedy exists not just in the words but, essentially, in the music. The full Italian text is given, with a note on the order of scenes in Act Three and the alternative passages Mozart wrote for the 1789 revival. The classic translation of E.J. Dent is an excellent way to get to know the twists and turns of the plot and the stylish wit of da Ponte's innuendos. Contents: A Society Marriage, John Wells; A Musical Commentary, Basil Deane; Music and Comedy in 'The Marriage of Figaro, Stephen Oliver; Beaumarchais's Characters; Le nozze di Figaro: Libretto by Lorenzo da Ponte; The Marriage of Figaro: English version by Edward J. Dent

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"Bizet describes himself as 'pagan', and Carmen has a savage Mediterranean beauty quite unique in music. The essays included in this guide suggest some reasons for its legendary theatrical appeal. Martin Cooper describes the traditional mixture of spoken words and song that stimulated Bizet to exclaim, 'I want to revolutionize opera-comique!': the translators show the ingenious and inspired ways in which he set about it. Lesley Wright analyses the score and Michael Rabaud shows the uncanny appropriateness of Nietzche's support for Bizet in his famous attacks on the decadence of Wagner. This is the first time that the complete text of the verses that Bizet set to music and the full dialogue (much of it especially translated for this Opera Guide), have ever been published. Contents: Introduction, Nicholas John; Opera-Comique, Martin Cooper; A Musical Commentary, Lesley A. Wright; 'Carmen': A tragedy oflove, sun and death, Michel Rabaud; Carmen: French text by Henri Meilhac and Ludovic Halevy after the novel by Prosper Merimee; Carmen: English version by Nell and John Moody"

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Fidelio is Beethoven's only opera, and the composition he is said to have loved the most. Elizabeth Forbes introduces the background and composition of the opera, written and revised over the years when Europe was caught up in the Napoleonic campaigns. Basil Deane's musical commentary is the fruit of a life's study and devotion to the work. The last contribution is an extract from Ernest Newman's translation of Romain Rolland's classic study of Beethoven the Creator.

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First published in 1980, Traditions of the Classical Guitar has been described as the first book to examine in detail the many traditions of one of today’s most popular instruments. With its central focus on Andrés Segovia’s pioneering work in establishing the guitar as an international concert instrument, it goes on to examine in detail its subsequent developments with reference to great artists such as Bream, Williams, Díaz and Yepes. Traditions of the Classical Guitar continues to be a classic of twentieth-century guitar scholarship, offering a challenging assessment to perceptions of the guitar’s progress throughout the ages. It is also a timely reminder of the glorious years of Segovia’s concert career between 1909 and 1987; Segovia himself said of the work: “Graham Wade has shown his love for the guitar from the first page to the last; true love and understanding”.

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Spring Awakening is set in a small German town in the 1890s, where adolescent boys and girls grope their way towards knowledge and maturity against the blocks set up by parents and teachers in the name of “morality”. Melchior, fearless in his pursuit of the truth, manages to retain his freedom of spirit, but his friends are not so lucky or strong. Wedekind’s controversial play occupies a special place in modern theatrical history as a key work of the naturalist school and the principal precursor of German Expressionism.

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When Sherlock Holmes receives a bungled tip-off from one of the agents of his nemesis, Professor Moriarty, the great detective hopes to avoid a murderous crime and bring the would-be assassin to justice. But on being informed soon afterwards that one John Douglas of Birlstone Manor has been found with his head blown apart by a shotgun, he realizes that he is too late. And so begins an enthralling tale of revenge, vigilantism and secret societies, one that transports the reader from the English countryside to the violent world of the American frontier of the 1860s. The fourth and final novel in the Sherlock Holmes canon, originally published in the Strand magazine between September 1914 and May 1915, The Valley of Fear is a riveting whodunit that showcases all of the classic elements that have ensured the enduring popularity of the stories featuring Conan Doyle's most famous creation.

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Following the critical and commercial success of A Literary Tour of Italy, acclaimed novelist Tim Parks presents a new selection of his latest essays on Italian literature, offering a lively, accessible and stimulating diorama of the cultural landscape of Italy.Containing pieces on major figures such as Dante, Machiavelli, Leopardi and Manzoni, as well as articles on some of Italy''s best-known modern authors from Pirandello and Pavese to Pasolini, Levi and Calvino, through to more recent writers such as Camilleri, Saviano and Ferrante this book will delight and interest any lover of Italian culture, and confirms Tim Parks as one of the finest and most perceptive essay writers of his generation.

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This selection of plays by Luigi Pirandello contains some of his best-known works, such as Six Characters in Search of an Author – an absurdist piece in which the characters, actors and Pirandello himself interact during the rehearsal of a fictional play within the play – and Henry IV – a tragicomic tale of a man who falls from a horse and believes himself to be the eponymous Holy Roman Emperor. Preoccupied with the nature of truth and delusion, and treading dangerously on the borderline between sanity and madness, Pirandello’s plays are a daring exploration of human actions and the dark motives lying behind them, and the culmination of the naturalistic school of theatre inaugurated by authors such as Ibsen and Chekhov.

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The beautiful Nell is a thirteen-year-old orphan who lives with her grandfather in a London bric-a-brac shop. Worried about his charge''s future, the old man secretly gambles at night in order to provide an inheritance for her, but finally loses the little he has and is evicted from the shop by the evil hunchback and loan shark Daniel Quilp, suffering a breakdown as a result. Forced to leave the city, the young girl is left to take care of her grandfather and protect herself from the scheming villains who are hot on their heels.Dickens''s fourth novel, initially serialized in his magazine Master Humphrey''s Clock between 1840 and 1841, The Old Curiosity Shop proved to be a huge hit on publication and is still regarded as one of its author''s major works, featuring one of his best-loved and most memorable heroines.

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The Adventures of Tom Sawyer charts the escapades of a thirteen-year-old boy growing up on the banks of the Mississippi. Testing the patience of his aunt Polly, the bold and sharp-witted Tom Sawyer frequently skips school in search of excitement, and the scrapes he gets into with his friend Huckleberry Finn range from innocent japes to more serious events such as the witnessing of a murder. One of the most popular and influential American novels, Mark Twain's masterpiece is at the same time a highly entertaining romp which celebrates youth and freedom and a more profound investigation of his times, touching on themes such as race, revenge and slavery. This volume includes Tom Sawyer, Detective, a sequel and pastiche of the detective genre, first published in 1896.

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Published soon after Fitzgerald's debut novel This Side of Paradise, Flappers and Philosophers was the author's first collection of short fiction, a form through which he had gained notoriety in newspapers and magazines. The familiar themes of aspiration and social satire already permeate his writing: in 'Bernice Bobs Her Hair' the fashionable Marjorie attempts to turn her dowdy cousin into a debutante, before betraying her out of jealousy, while 'The Ice Palace' features a Southern belle whose engagement to a Northerner finds her confronted with a cultural clash between tradition and modernity. Also containing 'The Offshore Pirate', 'Head and Shoulders', 'The Cut-Glass Bowl', 'Benediction', 'Dalyrimple Goes Wrong' and 'The Four Fists', this volume of stories illustrates the early stages of Fitzgerald's development as a writer and provides an entertaining chronicle of America in the 1910s.

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Proust's only other work of fiction published in his lifetime apart from the monumental novel cycle 'In Search of Lost Time, Pleasures and Days' takes the reader on a journey through the high-society circles of fin-de-siecle Paris, presenting the lives, loves and attitudes of a host of unforgettable characters.

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Céline's third novel, first published in 1944 but dealing with events taking place during the First World War, Guignol's Band follows the narrator's meanderings through London after he has been demobilized due to a war injury. The result is a frank, uncompromising, yet grotesquely funny portrayal of the English capital's seedy underworld, peopled by prostitutes, pimps and schemers.Often considered to be Céline's funniest work, Guignol's Band showcases its author's idiosyncratic style at its finest, frantically blending slang, invective, onomatopoeia with literary language, and bridging the gap between gritty realism and absurd mysticism.

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In this poignant memoir, Naina Yeltsina, the wife of the first president of Russia, recounts the compelling story of her life, from her earliest childhood memories and the time when she met and became engaged to Boris Yeltsin, her companion of over fifty years, to the birth of her daughters and her experiences as First Lady of Russia. Always shy of the limelight, and rarely giving interviews when her husband was in office, Naina Yeltsina provides the reader with a glimpse into her personal life, whilst offering at the same time a behind-the-scenes look at the epochal events that unfolded around her, including the first Russian presidential elections, the August 1991 coup and the fall of the USSR. Rich with intimate details and full of anecdotes, My Life with Boris is the chronicle of a life lived at the very heart of twentieth-century history.

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Abandoned as an infant and of unknown parentage, Tom Jones is raised in the household of the irreproachable, altruistic Squire Allworthy. Growing up to be a high-spirited, lusty youth, Tom finds himself vulnerable to temptation in the form of a local wench, though his heart is ultimately claimed by the beautiful Sophia Western, the daughter of a neighbouring landowner. When Tom''s amorous misadventures compel the squire to expel his young charge from his home, and when Sophia flees from her domineering and boisterous father to avoid an undesired union with the odious Master Blifil, a colourful, picaresque journey through eighteenthcentury England ensues, one punctuated by a parade of unforgettable Hogarthian grotesques and timeless comic set pieces.Characterized by both razor-sharp wit and broad, racy humour, and described by Coleridge as boasting one of the three most perfect plots ever planned, Tom Jones was an instant hit on its publication in 1749, and is widely cons

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Der fliegende Hollander is the first of Wagner's operas that the author considered to be representative of his mature style. The Dutchman embodies one of the major themes that recur throughout Wagner's work: that of a central character seeking redemption from a loving woman. Originally taken from a story by Heinrich Heine, Wagner extended and enriched his musical and dramaturgical language to produce an opera of extraordinary power. An essay in the guide places the opera in the context of emerging German Romanticism, and another highlights the musical riches of the score. A further article explores the emerging importance of myth to Wagner and his contemporaries. As well as a detailed description of the work's performance history, the volume contains Wagner's own instructions to his performers and his programme note about the overture. Illustrations, a thematic guide, the full libretto with English translation and reference sections are also included.

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Written as a passionate riposte to Talleyrand’s report to the French National Assembly, in which he declared that women needed only a domestic education, A Vindication of the Rights of Woman attacked the traditional view of decorative femininity and deplored the educational restrictions and the “mistaken notions of female excellence” that degraded women and kept them in a state of “slavish dependence”. Indeed, independence, “the grand blessing of life”, was at the heart of Wollstonecraft’s philosophy, and it is a mark of the profound influence of her words that Virginia Woolf, writing almost a century and a half later, could state that “her originality has become our commonplace”. As a companion piece, this volume also includes A Vindication of the Rights of Men – an earlier influential pamphlet advocating republicanism and social equality. The two Vindications, taken together, showcase Wollstonecraft’s rhetorical talents, as well as her brilliance and depth of thought as an anti-establishment polemist and social reformer.

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An exponent of the theory that William Shakespeare, the modestly educated provincial man from Stratford-upon-Avon, could not have written the works – full of erudition and accurate professional jargon – which are attributed to him, Mark Twain offers an eloquent and entertaining analysis of this issue of authorship, peppered with personal recollections of his own first encounters with the Bard’s plays on a boat on the Mississippi. Balancing humour, insight and vitriol, Is Shakespeare Dead? is a provocative contribution to the tradition of Shakespeare-doubting, as well as a fine example of the great American novelist’s critical writing.

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By writing what he called a “secret book” – taking the shape of a conversation between himself and St Augustine – Petrarch aimed to compose a cathartic text which would alleviate his spiritual crisis and help him make further inroads towards knowledge and fulfilment. At once an intimate repository of his most personal thoughts and emotions and a literary masterpiece dealing with universal issues, Secretum – Petrarch’s best-known work in Latin – is a fascinating and pioneering example of the autobiographical genre.

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Foscolo ranks among the most famous and enduringly popular poets in Italian literature, and in this collection, the only available in the English language, his most significant poems are collected in J.G. Nichols's lucid verse translation. Expressing the author's political, civic and sentimental concerns, these poems will surprise the English reader with their immediacy and intimacy. Sepulchres, Foscolo's masterpiece, as well as being one of the pinnacles of European neoclassical literature, is still one of the most widely studied poems in Italy. Foscolo's poetry reveals the inner recesses of a passionate, restless and surprisingly modern mind.

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First published in 1831, and here presented in a dual-language edition with annotations and additional reading material, Leopardi’s poetical masterpiece is an unsurpassed anatomy of man’s unhappiness on earth. Trapped between an admiration for the classical past and a disappointment in the impoverished present, Leopardi rejected both the easy allure of Catholic faith and the unbridled optimism proposed by science and the Enlightenment. His unflinching pessimism and existential resolve, here brilliantly rendered in verse by prize-winning translator J.G. Nichols, make him one of the most fascinating and best-loved Italian poets.

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Based on Dovlatov's actual experience of being a prison guard in Soviet Russia in the 1960s, and full of comic and humane detail, The Zone depicts the absurd day-to- day life of a camp in an insightful and unusual way, challenging commonly held perceptions of the relations between incarcerators and the incarcerated.A priceless chronicle of its time which highlights universal themes, Dovlatov's genre-defying novel also provides moments of high entertainment and humour, rendered in his characteristically sharp, concise and sardonic style.

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Rossini’s success in Italy in the early 1820s was certainly not echoed in France, where he was regarded as “an ill-bred parvenu, whose cheap popularity was an insult to a great musical tradition”. Stendhal was the first of his contemporaries to recognize the genius of this important Italian composer. Besides being a fascinating and penetrating account of the Italian composer’s most creative years, and of contemporary musical events and opinions, this work is one of the finest items in the Stendhalian literary canon. Details of Rossini’s early life are followed by penetrating discussions of the operas, libretti, personalities of the period and Rossini’s own character.

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As Cosmopolitan’s professional agony aunt for the last forty years, Irma Kurtz has had to deal with the most intimate problems of successive generations of readers, while having to keep up with the changing mores and attitudes in British and American society. In these memoirs, she looks back on the seismic transformations that have taken place over the last four decades, as well as her own hectic and often difficult life as a single mum from America living in London. Warm, funny and perceptive, brimming with wisdom and insight, My Life in Agony is a meditation on the subjects that tend to concern and confuse us the most – from mother-daughter relationships through to eating disorders, office politics and those perennial areas of interest: love and sex.

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When the young priest Francesco Vela becomes the incumbent of the parish of Soana, a small village in Ticino, he is tasked with bringing back into the Catholic fold a family of shepherds, the Scarabotas, who are accused of indecency and incest. Yet, after visiting them among the grandiose scenery of the alpine mountains and meeting their beautiful daughter Agata, Francesco experiences a spiritual and sensual awakening that throws his world and his beliefs upside down, forcing him to choose between his faith and his desire to connect with nature. This multi-layered tale, first published in 1918, is widely regarded as the crowning achievement of Gerhart Hauptmann, the recipient of the 1912 Nobel Prize in Literature and one of the most important exponents of German Naturalism.

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“A Turandot filtered through a modern brain”, wrote Puccini, describing his plans to rework the eighteenth-century fable by Carlo Gozzi. According to Mosco Carner, Puccini’s last and supreme work is an advanced score which, with an orchestration that reflects contemporaries such as Richard Strauss and Stravinsky as well as genuine Chinese rhythms and harmonies, remains true to the Italian vocal tradition. The musicologist Jürgen Maehder analyses of the ending, which Franco Alfano composed from Puccini’s sketches. In addition, the great British soprano Dame Eva Turner recalls her experiences of singing the title role, of which she was a legendary interpreter. Contents: The Genesis of the Opera, Mosco Carner; The Score, Mosco Carner; Puccini’s ‘Turandot’: A Fragment, Jürgen Maehder; Carlo Gozzi’s ‘Turandot’ and Its Transformation into Puccini’s Libretto, John Black; Memories of Performing ‘Turandot’, Eva Turner; Turandot: Libretto by Giuseppe Adami and Renato Simoni; Turandot: English literal translation by William Weaver

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