# Richard Yates (novel)
Lin posted a statement on Facebook addressing Kennedy\'s accusations. He agreed that he had sex with Kennedy, with whom he had been in a long-term relationship, but said that it was \"not statutory rape, let alone rape\" (as the website *Jezebel* had originally reported before correcting the article), and said he had Kennedy\'s permission to use their correspondence. He also claimed to have offered Kennedy any royalties from *Yates*, and to request that Melville House withdraw it from circulation.
Before writing *Richard Yates*, Lin sold 10 percent shares of its royalties for \$2000 each. Expressing a desire to focus solely on the book without needing to maintain an income for living expenses, Lin said, "I actually will work better on my second novel, the way the novel is right now, if I have no obligations or responsibilities at all." According to Lin, a conventional book deal with a publisher would have provided him with only a month\'s worth of living costs, whereas through private investments he thought he could make enough money to live on for three or four months. Six days after announcing his plan, Lin had sold 60 percent of the royalties in shares, for a total of \$12,000.
*Richard Yates*, like Lin\'s previous work, met polarized criticism. Many reviewers criticized Lin\'s idiosyncratic plain and minimally descriptive style. One wrote that his prose \"may appeal to a bored and banalized readership, but the writing is anything but appealing.\" Others were more forgiving; Charles Bock\'s mostly negative review for *The New York Times* allowed that Lin could be \"genuinely funny\" and that \"When Haley Joel and Dakota find solace in each other through small, intimate gestures, or in descriptions of Dakota's defeated parents, Lin's flat style resonates.\" *The Boston Globe*s review described Lin\'s writing as having \"the effect of putting a red butterfly behind glass: detached but brighter.\"
A French edition was published by Au Diable Vauvert and an Italian edition by Saggiatore.


# Kavanagh (novel)
First edition title page
***Kavanagh*** is a novel by the American poet Henry Wadsworth Longfellow.
Longfellow began writing the story in 1847 and it was published in 1849. *Kavanagh* is the story of a country romance. Besides a character named Kavanagh, among its characters is a school teacher named Mr. Churchill, who has always planned to write a romance, but whose procrastination never allows him to start, until late in life he resigns himself to his \"destiny\".
Longfellow also used the novel to argue against the view, in the book propounded by a character based on Cornelius Mathews, that American literature must be entirely devoid of European influences and be exclusively national. Instead, Longfellow felt that American literature could and should be universalist, with its unique North American influences. He saw the use of European models not as imitation but as a \"continuation\" that Americans could be proud of.
Of the novel, Robert L. Gale writes in *A Henry Wadsworth Longfellow Companion* that
*Kavanagh* was also a precursor of local color writing, and \"it depicts what is probably the first lesbian relationship in American fiction\".
- Etext at the University of Virginia Library
- Scanned book at Google Books


# Anthropology of an American Girl
Spiegel & Grau hardcover version, May 2010***Anthropology of an American Girl*** is the first novel by American author Hilary Thayer Hamann. It is the story of a search for authenticity told in the first-person voice of teenaged protagonist Eveline Auerbach. The semi-autobiographical literary novel contains an examination of the social and cultural pressures that prevent individuals from living meaningfully. It was independently published in 2003, and re-released in 2010 by Spiegel & Grau, a division of Random House, both times to critical praise. The novel has been compared to J.D. Salinger\'s *The Catcher in the Rye*.
Hamann wrote *Anthropology of an American Girl*, a semi-autobiographical coming-of-age story about Eveline Auerbach, a young woman growing up in Reagan-era America. Hamann was inspired to write the novel after taking graduate anthropology courses at NYU. The novel was first published by Vernacular Press in 2003. Hamann did not send the manuscript to agents or publishers until Vernacular closed in June 2007. *Anthropology* was purchased for publication two months later by Spiegel & Grau, and was re-released in May 2010. The paperback version was released in June 2011.
The new version was edited by Cindy Spiegel, senior vice president and publisher of Spiegel & Grau, and former vice president and publisher of Riverhead Books, where she edited Khaled Hosseini\'s *The Kite Runner*.
The book has been published in Australia by Allen & Unwin, in Italy by Fandango Libri, and in the UK by Constable & Robinson.
Vernacular Press hardcover version, 2003*Anthropology of an American Girl* received strong reviews upon initial publication. *Library Journal* called the novel \"Henry James meets the 21st Century,\" \"intelligent and insightful.\" Also according to *Library Journal*, \"Eveline, or Evie, is not a stereotypical \'American Girl\'; nor is the book a standard coming-of-age story.\" Vernacular Press paperback version, 2003


# Anthropology of an American Girl
*The Providence Journal* cited the novel for its \"gorgeous detail and nuanced thought\" and \"poetically rendered, astute perceptions.\" It stated that \"*Anthropology of an American Girl* is an extraordinary debut, updating the 19th-century social-psychological novel of romance and manners. Like Jane Austen, George Eliot or Edith Wharton, H.T. Hamann critiques her era and culture through the tale of a precocious young woman buffeted by the accidents, values and consequences of her age.\"
*Anthropology* was praised by publications with diverse demographics. *Ms. Magazine* cited it for its \"gorgeous language and brilliant observation,\" and *Romantic Times Book Club Magazine* called it a \"magnificently intense love story,\" awarding the novel its highest possible rating.
The novel won a \"Notable Fiction Award\" from *Writers\' Notes* (2004); *ForeWord Magazine* named it a Book of the Year \"Fiction Finalist\" (2003).
The novel received a starred review from *Publishers Weekly*, which called the book \"exquisitely rendered,\" and added, \"If publishers could figure out a way to turn crack into a book, it\'d read a lot like this.\"
*Kirkus Reviews* also gave the novel a starred review, calling it a \"closely observed, Holden Caulfieldish story of teendom\" that is \"intelligent and without a false note---a memorable work.\" The review added that \"Eveline is a marvelously complex and tragic figure of disconnection, startlingly real and exposed at all times.\"
*O Magazine* said that the novel is \"a realistic, resonant, and universal story,\" adding that \"Evie has a deadpan delivery Holden Caulfield might envy.\" The magazine also stated that \"Hamann\'s depiction of time and place is stunningly accurate.\"


# Anthropology of an American Girl
*The Washington Post* praised it as \"a very respectable and serious descendant of the work of D.H. Lawrence,\" adding that Hamann had created \"a carefully devised, coherent world, filled with opinions that need to be spoken---and heard.\" It also called the novel \"A stern rebuke to chick lit everywhere,\" adding that the story \"reminds us that all human lives are potentially sacred; that no lives should be judged and dismissed out of hand; that young women, though seen for eons as primarily just attractive objects, actually possess soul and will and sentience.\"
According to the *Chicago Tribune*, \"Hamann has a hugely engaging voice and one that is rich with social and psychological insights.\"
*The Dallas Morning News* said, \"This impressive debut is epic but not overwrought, and brilliant without the slightest hint of smugness. A rare kind of novel---at once sprawling and intimate---whose excellence matches its grand ambition.\"
The *Chicago Sun-Times* said that *Anthropology* \"Showcases all the nuance and character insight of the masters. But it also has a thrilling contemporary edge that seems to just about perfectly capture the ethos, angst, and danger of a time close to our own,\" calling Hamann \"one of the most engaging, evolving voices in contemporary fiction.\" Adding that, \"The author is pitch perfect in rendering the times. It\'s a time that\'s post-postwar and pre-Internet, and it\'s never seemed so intriguing.\"
*East Hampton Independent* called the novel \"An ethnographic exploration of youth culture,\" \"haunting, wise, and hip,\" with \"its ear-perfect dialogue and erotic charge.\"
Respected book seller e-zine, *Shelf Awareness*, said that *Anthropology* is a \"magnificent book,\" \"incredibly intense and passionate,\" \"romantic in the grand sense,\" \"a rich, affecting experience,\" and \"completely entrancing.\" Spiegel & Grau paperback version, June 2011
Despite overwhelmingly positive reviews, the novel was sometimes criticized for its length.


# Anthropology of an American Girl
Though *Philadelphia City Paper* called *Anthropology* \"lyrical and analytic,\" adding that the \"depth of character examination\...generates the novel\'s powerful, sympathetic backbone and propels a complex coming-of-age tale for a new generation,\" it also stated that the book was \"overly lengthy.\"
*Newcity Lit* wrote that the book \"gives us a vocabulary for coming-of-age in a contemporary world,\" but that \"Like *The Fountainhead*, *Anthropology* is too long.\"
*New Zealand Listener* called the book \"a remarkable, honest and vivid achievement,\" adding that \"What Hamann brings to this world is a woman\'s voice that is fresh and full of feeling.\" But *NZL* added that \"For some, the high school years may go on too long. However, the novel attains a gravitas that is unexpected and welcome. Eveline, in the end, is more George Eliot than Jane Austen.\"
*The Washington Post* called *Anthropology* \"as vast and ambitious as the country itself, a panorama of a particular culture being born and dying and being reborn again. The book is a lengthy exegesis on the merits of first love and true love\--in this case, two very different phenomena.\" But it also stated that \"the novel, with its many pages and its extensive cast of characters, aspires to comparison with *War and Peace*.\"
\"This is a story of personhood, of growing by degrees.\"
\"I wanted to take a long hard view of personal development in American culture. I decided to go back to the girl I\'d been, and to other girls I\'d known, in order to tease everything apart to find the ways in which we resisted stereotype or conformed to it. I wanted to study the idea of freedom and its applications and misapplications on a daily basis, and that took time.\"


# Anthropology of an American Girl
\"I studied anthropology and ethnographic filmmaking in graduate school at NYU, and while considering other cultures and the ways in which people and places are represented, my thoughts turned to my own country, my ethnicity, my heritage\...I thought about what constitutes my culture and my place in it. In order to investigate a big concept with a measure of authenticity, I relied on a single voice. And so, this is also a story of personhood, of growing by degrees. You know, being human is automatic, but being a *person*---a being with special moral and spiritual qualities---requires tremendous effort. It is a privilege and a responsibility.\"


# Immensee (novella)
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***Immensee*** (1849 and 1851) is a novella by German author Theodor Storm. It was the work that made him famous and remains to this day one of his most widely read.
*Immensee* was first published in *Biernatzki's Volksbuch* in December 1849 when the author was well known regionally, but with the revised edition 1851, he became famous all over Germany and then the world. By the time of his death in 1888, it saw 33 editions in 17 languages. Storm revised it using some comments from his friend Tyco Mommsen and republished it in 1851 in *Sommergeschichten und Lieder* and finally as a single work edition in 1852. The first English translation appeared in 1858 in Henry Colburn's *New Monthly Magazine and Literary Journal* with a second version first appearing in the USA in 1863. It was Storm\'s best selling work and remains to this day one of his most widely read, along with *The Rider on the White Horse* and *Pole Poppenspäler*.
On the surface it is a simple love story divided into ten scenes as framed by the remembrances of Reinhardt as an old man thinking back to his youth, his childhood love for Elisabeth, and his friend Erich who ends up marrying her. The story thus takes place over the course of an entire life. It is autobiographical to some degree with echoes of Storm\'s own life. The novel is richly symbolic. Wiebke Strehl said that \"Growing interest on the part of twentieth-century literary scholars indicate that there is much more to this story than meets the eye.\" Other critics have countered it is crudely symbolic and overly sentimental.
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From their early childhood on, the protagonists Reinhard Werner and Elisabeth (no last name mentioned) have been close friends. Reinhard, who\'s five years older than Elisabeth, impresses her by writing fairy tales on slips of paper for her. Without Elisabeth knowing, Reinhard additionally keeps a vellum-bound book in which he composes poems about his life experiences.
Despite his young age, Reinhard is sure that he wants to spend his whole life with Elisabeth. Neither a new school, nor his new male friends can change this. He reveals his childhood dream of a life together in India to Elisabeth. After a moment of hesitation, 5-year old Elisabeth agrees to his plans.


# Immensee (novella)
At the age of seventeen, the moment of separation from Elisabeth comes inescapably closer. Although he will pursue his education in town, Reinhard promises to continue writing fairy tales for her and send them by letter to his mother. She is delighted about this idea for she cannot imagine a life without Reinhard.
Soon enough Christmas Eve comes along. Reinhard spends his time with his fellow students in the Ratskeller, where he shows interest to a girl playing the zither accompanied by a fiddler. After acting coy, she eventually sings for Reinhard. However, he offends her by heading home in a rush after receiving a message from an arrival. There Reinhard finds a parcel. Excited, he looks at the parcel\'s content. Besides a cake and some personal items the parcel also contains letters from Elizabeth and his mother. In her letter Elisabeth complains about the death of the bird which Reinhard gave her as a present. Furthermore, she reproaches him for not writing fairy tales for her anymore. He is overwhelmed by a desire to return home. Immediately, he writes letters to Elisabeth and his mother after taking a walk, during which he gives half of the cake to a beggar girl.
At Easter, after a long-awaited time, Reinhard returns to see Elisabeth. However, they seem to have grown apart. In Reinhard\'s absence, his old schoolfriend Erich has inherited his father\'s farm at Immensee. Erich gave a new bird to Elisabeth. Reinhard entrusts his personal diary to Elisabeth, who is unsettled by the many poems he dedicated to her. When he asks her to hand him the book back, she returns it to him along with his favourite flower. Shortly before his departure Reinhard makes Elisabeth promise that she will still love him after his two-year absence. He leaves having told her that he has a secret, which he vows to tell her upon his return. Two more years pass by with no more correspondence between the two of them, then Reinhard gets a letter from his mother about Elisabeth and Erich\'s engagement. Elisabeth had twice rejected Erich\'s proposal.


# Immensee (novella)
A few years later Reinhard accepts Erich\'s invitation to Immensee without Elisabeth and her mother knowing. Elisabeth is very happy about Reinhard\'s unexpected arrival. Reinhard has collected several poems and songs over the last few years and now he is asked to perform some of his latest folksongs. With the evening drawing near, Reinhard recites some verses of a romantic drama, prompting Elisabeth to leave the small party embarrassed. Shortly afterwards, Reinhard is on his way down to the lake where he tries to reach a water lily by swimming into the middle. He cannot reach it and returns to the shore scared.
The following afternoon Reinhard and Elisabeth go for a walk on the other side of the lake. Discovering a field of erica and listening to Reinhard\'s words about lost youth bring tears to Elisabeth\'s eyes. In silence they make their way back to the house by boat but Reinhard returns alone later.
During the whole time at the manor Reinhard is not able to express his thoughts. He decides to abandon Immensee early next morning, leaving a note behind but Elisabeth surprises him when she anticipates his plan to depart and never come back. He withdraws himself from her sight stepping outside and taking off.
At late dusk, in his mind\'s eye, the old man once more catches sight of the water lily on the lake through the window. The lily seems to be close but still unreachable. He remembers his bygone youth and delves into his studies, to which he dedicated a lot of time in the past.
Because of its rich symbolism, the work has been interpreted a number of ways, including three film adaptations for political propaganda purposes. These include the 1943 film *Immensee: A German Folk Song*, directed by Veit Harlan during the Nazi years. The 1999 Bollywood film, *Hum Dil De Chuke Sanam* (or *I Have Already Given My Heart, Sweetheart* in English) is a loose adaptation of the story\'s theme.


# Valentine (novel)
***Valentine*** (1832) is a novel published by French author George Sand. This was the second novel published in Sand\'s career as an independent author, the novel is notable for displaying many of Sand\'s preoccupations as an emerging novelist: love, social class, greed, liberty, and family ties. Like many of Sand\'s novels, the novel takes its name from its title character Valentine, who is born into an aristocratic family but falls in love with the peasant farmer, Benedict. Star-crossed lovers belonging to different social classes were to become a major theme in Sand\'s works, which interrogated what the author perceived as the hypocrisy and rigidity of social norms in the Restoration-period French republic.
Sand\'s main theme in the novel is marriage. Marriages of convenience are expected in the novel. Évariste de Lansac, Valentine\'s fiancé, is a greedy character who pursues marriage for land and wealth. However, while marriage between Valentine and Benedict would be based on genuine love, it is also forbidden by their class differences. The snobbery of the upper class is embodied by Valentine\'s grandmother.
The novel depicts the limited education given to women in the 1830s. Having completed a basic education in preparation for her marriage, Valentine complains she is \"miserable.\" She is able to draw, sing, and dance, but does not have knowledge of the world beyond what would prepare her for a domestic life as a wife.
Valentine\'s sister, Louise, represents a rebellious alternative. Louise becomes entangled romantically with Benedict. Benedict is then in love with both sisters. The novel offers no solutions for these social problems, but simply allows them to unfold.
The novel\'s fictional backdrop is shared by many of Sand\'s later rustic novels, the Black Valley in the Berri region. These novels are based on the region where Sand had her own country estate.
In the *Revue de Romans,* an 1839 reviewer of the novel noted Sand\'s unique use of the romance genre.


# Valentine (novel)
\"*Valentine* is the work of a woman author who depicts in this novel, and with unexpected vigor for this often-silly genre of writing, the trials and tribulations of a woman whom society has condemned to waste away her days in a place whether neither the people nor their ages are varied, and neither love nor affection are easily obtained; in short, it is a hyperbolic critique of the institution of marriage, but it is a charming work of great interest and poetry.\"
(Translated from the French, Source: <http://fr.wikisource.org/wiki/Revue_des_Romans/George_Sand>)


# Jacques (novel)
***Jacques*** (1833) is a novel by French author George Sand, née Amantine Dupin. The novel centers on an unhappy marriage between a retired soldier, aged 35 (Jacques), and his young teenaged bride, Fernanade. The novel is the first by Sand to be named after a male character. While previously, her novels had focused on female experiences within marriage, in *Jacques,* she turns her attention to describing a male partner in a marriage. The novel details how he feels about ongoing events in often painful detail.
It has been suggested by some critics that the character of Jacques later reappears as an unnamed fellow traveler in Sand\'s fictionalized travel account *Letters of a Voyager*.
Jacques and Fernanda are newlyweds, but they are mismatched in many ways, not least in age and education. Both enter into marriage with high hopes, but these are quickly dashed by a massive quarrel early on in the book, which becomes an important turning point in the book. The means of reconciliation used by the two characters are very different. After the fight, Fernande attempts to mend the rift by begging and pleading, but Jacques responds with disgust.
Following this, Jacques invites his sister Sylvia and her companion Octave to stay with the couple as guests. Octave and Fernande fall in love. Faced with no choice but to challenge Octave to a duel or concede the marriage, Jacques can find no suitable alternative. He decides to disappear into a crevice in the Alps, never to return.
While the novel never provides an explanation for the dissolution of Jacques and Fernande\'s marriage, the novel highlights that differences in how the couple express emotion and how they see the world. The inability of the couple to comprehend one other may be what causes their relationship, although the question is left open.
However, Sand also highlights the social aspects of this problem by emphasizing the youth of Ferndande, who is married by her family as a teenager, and the impossibility of the couple\'s divorcing under Napoleonic law. Like many of Sand\'s novels, Jacques argued in favor of the education and independence of 19th century women and against a view of marriage in which the husband dominated the wife legally.


# Jacques (novel)
Unlike her prior novels, Jacques depicts misunderstandings in a marriage not arranged out of convenience but originally based on love. Thus the novelist tackles a new topic in this exploration of men and women\'s intimate relations, differences in communication.
*Jacques* is the third of Sand\'s novels. Many critics have compared it to her first two works, *Indiana* and *Valentine* due to their specific interest in women\'s equality, including the legal rights, education, and familial roles of women. Sand\'s early career focused on these issues extensively. While these were controversial topics, writing about them also helped build her reputation and attracted a wide following of readers who were interested in these themes.


# Riddle of the Seventh Stone
***Riddle of the Seventh Stone*** is a 2010 novel by Monideepa Sahu. This fantasy novel for children is set in Bangalore, India. The book was longlisted for the Vodafone Crossword Book Award for 2011.
Set in a herb shop on a bustling road in Bangalore, this book is about a spider and rat magically turning into human children. As children with help from their vermin friends the duo gang up with the grandchildren of the herb shop owner to save it from a land shark. In the course of their adventures they come across an ancient riddle, solving which leads them to the treasure of Kempegowda, an ancient king who founded Bangalore. The vermin\'s transformation to humans in nature and thinking, and their improving in the face of adversity is an underlying theme of the book.
Many places described in the book are in the old parts of Bangalore dating back to the times of the city\'s founding. The City Market, Avenue Road, Bangalore Fort and Kote Venkataramana Temple are real places.
- **Rishab**: the aged rat who transforms into a shy and awkward boy. He overcomes his shyness to become the hero of the novel by solving the **riddle of the seventh stone**, finding the treasure and becoming friends with a girl called Geeta whom he saved from an accident.
- **Shashie**: the very old spider who transforms into a bossy and opinionated girl. She plays a pivotal role in the novel.
- **Venkat Thatha**: the owner of the rare herb store, an absent-minded old man worried about the future of his shop
- **Ajji**: Venkat Thata\'s wife, deaf but practical
- The twins **Leela** and **Deepak**: orphaned grandchildren of Venkat Thatha. They discover and try to civilize Rishab and Shashie.
- **Shark**: the mysterious scar-faced villain who doubles as a loan shark and a land shark out to snatch the store
- Minor characters like the wise bandicoot and the helpful policeman
- Numerous insects and rats who bravely help Rishab and his friends in their quest


# Riddle of the Seventh Stone
Kote Venkataramana Temple
Monideepa Sahu got the idea of writing this book after meeting the owner of a shop selling rare herbs while doing research for an article for the newspaper *Deccan Herald*. A big spider weaving a web in a corner of the shop and a rat scurrying about the shop were the inspiration behind the main characters of the book, Rishab and Shashee. In the course of the author\'s conversations with long-term residents of Old Bangalore, she learnt about local life, and discovered old temples, churches and mosques. Hearing tales of local life, temple chariot festivals, the early morning flower market etc., related by people from diverse communities, inspired the characters and plot of her book. Although the book was written in 2003 it was rejected by a number of publishers for failing to follow established stereotypes, before being selected by Zubaan in 2008 as an anonymous pitch in the Kala Ghoda Arts Festival. The book was formally launched in Bangalore on 9 October 2010.
A review in *The Hindu* noted the unusual storyline and praised the book for a realistic portrayal of children and language. The reviewer praised Rishab as an adorable character and appreciated the book\'s humorous touches but found the decoding of the riddle weak. The *Deccan Herald* appreciated the fact that this novel as a fantasy set in India unlike most children\'s books. They noted the mix of adventure, fantasy, insects, vermin and a little bit of love made the novel fast-paced. The *Bangalore Mirror* found the description of Bangalore\'s underworld populated with rodents and roaches and not crooks, as a world full of fantasy and adventure in the labyrinths of drains and nooks of the old Bangalore.
Ranjana Kaul in the *Book Review* noted the \"unlikely protagonists drawn from the world of vermin and insects, a world which humans generally tend to ignore or treat with disgust and repulsion. The book straddles these two antithetical yet interdependent worlds with ease through its unlikely heroes, the rat Rishabh and the bossy spider Shashee (spelt with a double \'e\' for astrological reasons!) who find themselves catapulted unwillingly into the world of humans.\"


# Riddle of the Seventh Stone
It has been noted, apart from nuggets of history of Bangalore, the novel also deals with ecological concerns, coexistence and the discovery of self-reliance. However, the author has denied having put in a moral in the book.
- *Going home in the rain*, a 2016 book by Monideepa Sahoo


# Jews without Money
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***Jews without Money*** is a 1930 semi-autobiographical novel by American critic Mike Gold.
Published by Horace Liveright shortly after the onset of the Great Depression, the novel is a fictionalized autobiography about growing up in the impoverished world of the Lower East Side, beginning in the 1890s. *Jews without Money* was an immediate success and went through many print-runs in its first years and was translated into over 14 languages. It became a prototype for the American proletarian novel.
*Jews without Money* is set in a slum populated mainly by Jewish immigrants from Eastern Europe. The father of the hero is a painter who suffers from lead poisoning. When he falls from a scaffold, he is disabled and can no longer work. His business fails and the family is pushed into poverty. The mother has to seek work in a restaurant. Although he is a bright boy, young Michael decides he must leave school. On the final page of the book, the poor Jewish boy prays for the arrival of a Marxist worker\'s revolution that will emancipate the working class.
In his authorial note to the novel, Gold wrote, \"I have told in my book a tale of Jewish poverty in one ghetto, that of New York. The same story can be of a hundred other ghettoes scattered over all the world. For centuries the Jew has lived in this universal ghetto.\"
- Mike Gold
- Jewish-American working class
- Proletarian literature
- Alan M. Wald


# Debjan
***Debjan*** is a Bengali novel written by Bibhutibhushan Bandyopadhyay. The work is a fiction and deals with life after death.
The name Debjan is derived from the Sanskrit word \"Devyaan\" which literally translated as the path of Gods. This is the path of no return, i.e. a soul traversing this path will be liberated according to the ancient Indian scriptures. The description of this path occurs in Upanishads and also in Gita.
The other path is known as Pitr Yaan. A soul traversing this path will have to return to the world again for reaping the fruits of Karma.
Gita refers to these two paths as the \"White\" and the \"Black\" paths, one which leads to eternal life and the other compels one to return to the world. The exact sloka, however does not take the name \"Devyaan\".
Jatin, the male protagonist of the novel, a Brahmin lives in a village. Though he is highly educated yet he is unemployed and poor. His wife Ashalata has deserted him and lives in her maternal house with their children. Jatin has met neither his wife nor his children for years. After suffering from high fever Jatin dies. Right after his death Jatin discovers Pushpa, his very intimate childhood friend who died 13 years ago is standing beside his bed. Pushpa tells Jatin that she has come to take him with her. And from here the main story begins. Jatin learns death is not the end of everything, but, it is just a beginning of a new life. Jatin meets many characters who shape his knowledge and wisdom on death, human relationship and its existence beyond human life, life after death, God, Atman, reincarnations, divine manifestations or avatars and Karma. There is a certain goddess who in the novel is referred to as Karuna Devi or goddess of compassion, who, out of the desire for the welfare and well being of ordinary mortals, comes to the earth to help people. He also meets a sannyasin or ascetic monk who attained the nirvikalpa samadhi and hence is a liberated soul. He meets the great Vaishnava saint Raghunath Das who worships the living image of his personal God. He meets Valmiki, the ancient poet who composed Ramayana. Jatin stays in the third sphere along with Pushpa. In this sphere it is possible to create environment out of imagination and Pushpa creates the same scenery as was present in her native place consisting of the river Ganga and its bank where she and Jatin used to play as children. There are still higher spheres where people have great powers by which they can create any object by a mere thought. There is no language of communication and people can communicate using thought waves as medium. There are also nether regions which are inhabited by souls of inferior nature. The higher regions are occupied by the celestial beings. God or the Supreme Being is beyond all regions and spheres. Every sphere is governed by a very powerful being who is a very advanced soul. Most of the souls of the higher realms are believer in God and they spend their time meditating upon the Supreme Being. Jatin also met advanced souls who are world travelers but are agnostic. It is made clear that in the universe there are an infinite number of spheres where people may be born and the purpose of life is to evolve spiritually by learning vital lessons from the life\'s experiences and thereby gaining wisdom. When all ignorance is dispelled people are liberated from the earthly existence and they go to the higher spheres or realms from where they progress even further. It is possible for the earthlings to degenerate and go to nether lands or to inferior regions in the after life if that helps them in gaining knowledge and wisdom in the hard way.


# Debjan
Jatin and Pushpa along with Karuna Devi and a few other advanced souls try to help several mortals, including Jatin\'s wife Ashalata who had gone astray. Jatin could not relinquish his infatuation for Ashalata which landed him in trouble as he had to born again in a poor rural household in Bengal. However, Pushpa intervened to free him from the misery of a mortal life. Pushpa was in love with Jatin but she was an advanced soul. In the book Jatin visits many spheres courtesy the different souls of higher realms who help him in his quest of knowledge, but he is unable to get rid of his infatuation and therefore has to be born again. In the end, even though Ashalata\'s karma was not in favour, she was given a new lease of life because of Jatin\'s love for her and she and Jatin were born again, destined to be united again in new bodies. Pushpa had to go back to the realms of immortality, leaving the hope for being ever united with Jatin. She made the sacrifice for Jatin\'s sake.
The book ends with a description of what the Supreme Being is and what is His relationship with the world, in accordance with the different scriptures in Hinduism. The book also touches upon long standing debates in Hindu theology like that between Advaita Vedanta which believes that one Supreme Impersonal Godhead Brahman permeates the entire Universe and the creation is the superimposition of this impersonal through Maya, and Vaishnavism, which is a dualist doctrine, i.e. it believes in God separate from the creation, viz. world. The book also emphasizes on love as a potent medium of progress and spiritual development and the transcendental love for God or bhakti as the highest means of emancipation.
The book depicts the concept of life after death as it appears in Hindu scriptures, esp. the Upanishads. The concepts of different Lokas or hierarchical regions beyond the material sphere is influenced by a similar depiction in Brihadaranyaka Upanishad.
- Jatin
- Pushpa
- Ashalata (wife of Jatin)
- Pranay Devi
- Karuna Devi
- The universe wanderer
- Vaishnava monk
- Vedantin Sannyasin


# Les Belles-de-nuit ou Les Anges de la famille
***Les Belles-de-nuit ou les Anges de la famille*** (*Beauties of the Night or The Angels of the Family*) is an adventure novel by Paul Féval. It was first published as a roman feuilleton in the French newspaper *L'Assemblée nationale* from the September 21, 1849 to the April 27, 1850. The story takes place from November 1817 to November 1820 in Brittany and in Paris. The book is divided in five parts of unequal length.

### Part 1, *Le Déris* (The Flood)
In November 1817, in the Breton town of Redon, three strange characters -- two men and a woman -- stop at the inn of the *Mouton Couronné* (The Crowned Sheep) for the night. They are Robert and his accomplice Blaise, aka *l'Américain* (The American) and *l'Endormeur* (Sleepy-Maker), and beautiful but soulless Lola. The two men are hard up and Robert, who has just discovered the existence of the Vicomte René de Penhoël, decides to get hold of his estate and fortune. He manages to wrest the Penhoëls' story from the inn-keeper Géraud and pretends to be a friend of Louis's, René's elder brother, who left Brittany fifteen years before, following an unhappy love affair: both he and René had fallen in love with Marthe, an orphan. Everyone thought Marthe was in love with Louis but the latter went away and Marthe eventually married René. Yet the Viscomtesse is still very melancholy and Robert suspects that she never stopped loving Louis.
Robert and Blaise go to the manor -- although the boatman Benoît Haligan, who guessed the truth, warned René -- and introduce themselves as Louis's friends.


# Les Belles-de-nuit ou Les Anges de la famille
### Part 2, *Le Manoir* (The Manor)
Almost three years later, the first steamboat leaves London for Bordeaux. On board is Major Berry Montalt, a mysterious English adventurer who hates Brittany and the Bretons. Nevertheless, he rescues a young Breton sailor who tried to drown himself. The young man is none other than Vincent, René\'s young cousin, who left the manor five months before: one day he was suffering from fever and drunkenness, he raped his cousin Blanche, with whom he is desperately in love. As Vincent tells Montalt this story, the adventurer goes into a towering rage and accuses Vincent of recalling his own crime to him.
Meanwhile, in Penhoël, René, who has become Lola's lover, gambles his fortune and estate away. Robert, Blaise and their accomplices, the Marquis de Pontalès, his son Alain and the Maître le Hivain, a dubious lawyer, are almost the masters of the estate. During a party, Marthe discovers that her daughter Blanche is pregnant and thinks that Robert is the father of the unborn child. Her pain is all the greater as she thinks Blanche underwent the same fate as she did years ago.
Diane and Cyprienne de Penhoël, René\'s cousins and Vincent's younger sisters, have found out Robert's schemes. They decide to rob some documents that René signed in Louis's name and that can help Robert to become the master of the estate. The girls are unmasked and drowned by Bibandier, one of Robert's accomplice. Robert kidnaps Blanche and has Étienne Moreau, a painter, and Roger de Launoy, René's adoptive son, thrown out of Penhoël. Soon after the young men depart, the others members of the family are also forced to leave the manor. The Marquis de Pontalès, now master of Penhoël, throws out Robert and Blaise as well.


# Les Belles-de-nuit ou Les Anges de la famille
### Part 3, *Le Voyage* (The Journey)
In Rennes, a stagecoach is about to leave, bringing Montalt to Paris. Étienne Moreau, who has just left Redon, meets the mogul and tells him his story, without telling him Penhoël's name. In spite of the respect he instinctively feels towards Montalt, the young man is appalled his immorality. As for Montalt, he is very interested by two girls who travel in another mail coach going to Paris. Strangely enough, they pull down the blinds when Étienne turns towards them. When they reach Laval, Étienne and Montalt stop at an inn and the young man meets Roger, whose departure he did not know of.
When the stagecoach reaches Paris, Montalt suggests Étienne and Roger to settle as painter and secretary in his household. Presently one of the mysterious passengers of the second stagecoach throws out two notes signed \"BEAUTY OF THE NIGHT\" and addressed to Étienne and Roger, arranging to meet them at Notre Dame de Paris. The young men, faithful to Diane and Cyprienne, whom they love, refuse to go.

### Part 4, *Paris*
Robert, Blaise, Lola and Bibandier are now living in Paris under false names, with Blanche. Robert decides to acquaint himself with Montalt, hoping to make him his accomplice to buy Penhoël's manor.
Marthe, René, Uncle Jean and old Géraud live in a slum, and Diane and Cyprienne, who came through drowning, struggle to survive, singing in the streets. In desperation, they decide to go and ask Montalt, who is interested in them, to help them buy back Penhoël.
During a party at Montalt's residential hotel, Robert meets the adventurer and tells him how he swindled Penhoël's out of his estate without telling any names. Meanwhile, two mysterious girls enter the ball, tell Étienne and Roger of the murder of Diane and Cyprienne, and charge Robert with the crime in Montalt' presence.


# Les Belles-de-nuit ou Les Anges de la famille
### Part 4, *Paris*
Coming back to his hotel, Montalt hears that the girls of the stagecoach -- Diane and Cyprienne -- want to meet him. They tell him their story but call themselves Louise and Berthe. Montalt takes pity on them and decides to let them live in the hotel as his own daughters. Presently, Bibandier shows Étienne and Roger the girls, saying that Montalt seduced them.
In the meantime, Vincent, who has heard of Blanche's being kidnapped and his family's having left Penhoël, manages to reach Paris but is arrested and imprisoned opposite the house that Lola is renting and where Blanche is imprisoned. The girl is pregnant and mourns her family. Diane and Cyprienne, disguised in men, come and set their cousin free, then take her to Montalt's hotel.
Robert, who now wants to get rid of Montalt, asks Lola to persuade Alain de Pontalès to challenge the Englishman to a duel. Then he tells Vincent, who escaped and witnessed Blanche's kidnapping, that Montalt ordered it. As a result, the young man challenges Montalt to a second duel. Then Étienne and Roger come, seeking compensation for Montalt's attitude towards them and the twin sisters. After that, Jean de Penhoël, also deceived by Robert, decide to challenge Montalt to a fifth duel.
Meanwhile, René de Penhoël, who has become nearly mad since he lost his estate, takes advantage of Jean's having left their slum and Géraud's being in hospital to try and kill Marthe and commit suicide. They are saved by Diane and Cyprienne. The girls come back to the hotel and Montalt encourages them to tell their real name. Then he tells them his story: he left his family several years before because both he and his best friend were in love with the same girl. Montalt would rather give up his love but he never forgot the girl. Then he gives Diane and Cyprienne a sandalwood box set with diamonds that contains a lock of the girl's hair. He asks Diane and Cyprienne to burn the lock if he dies and to keep the diamonds. After he leaves, the twins go and aid Blanche, who gives birth to her child.


# Les Belles-de-nuit ou Les Anges de la famille
### Part 4, *Paris*
Montalt goes to the Bois de Boulogne. He kills Alain de Pontalès but not the other four. Jean de Penhoël suddenly recognises him and pronounces him to be his nephew Louis. As they come back to the hotel, they find Robert and his two accomplices, who were trying to rob the sandalwood box. Robert is then accused by Jean, Vincent and the girls. Yet, Montalt agrees to save him if he gives him a letter that Marthe had written to him but never sent. Presently Jean explains that Diane and Cyprienne are Louis and Marthe's illegitimate children, whom he and his late wife adopted. They decide to go back in Brittany and buy back the estate. But they have got only three days left before Penhoël legally becomes Pontalès's property.

### Part 5, *Penhoël*
Robert, Blaise and Bibandier go back to the *Mouton Couronné*, in Redon, bringing Marthe and René with them. They arrange to meet René on the riverbank, luring him into thinking that he may buy the estate back. They then go to the boatman's lodge. Benoît Haligan is now dying. They force Maître Le Hivain to bring Pontalès to Haligan's house. After the Marquis arrives, they order him to help them if he wants to retain the estate, for Penhoël is coming back. Pontalès grudgingly agrees to share Penhoël's estate with Robert, Blaise and Bibandier and to kill René and Louis if necessary.


# Les Belles-de-nuit ou Les Anges de la famille
### Part 5, *Penhoël*
When the five of them reach the place of their appointment with René, the latter goes in the boat, scared by a mysterious stranger who has been following him since he left Redon. The stranger, Louis de Penhoël, manages to stop the boat before Bibandier can distance the bank. Pontalès stabs René but is battered to death by Louis, who then kills Robert, Blaise and Le Hivain, while Bibandier runs away. After the killing, Louis tries to bring back his brother, whom he thinks is still alive, but René makes a last dying movement and lets himself slip into water. Then the boat sails away on the river and sinks with the four dead bodies in the *Femme Blanche\'s* (White Woman) chasm, in which Robert had ordered Diane and Cyprienne to be drowned.
Meanwhile, Jean de Penhoël has taken Marthe back to the manor. The latter is almost dying after enduring so much sorrow and she wakes up hearing the *Beauties of the Night* song. Seeing her daughters and Louis, who came back to the manor, she prays: \"My God! (...) if it is a dream again, let me never wake up!\" (« *Mon Dieu! (...) si c'est encore un rêve, faites que je ne m'éveille jamais !* »).
False names are written in square brackets.


# Les Belles-de-nuit ou Les Anges de la famille
### The Penhoëls
: **Diane and Cyprienne de Penhoël**, **Louise and Berthe**, **Édouard and Léon de Saint-Remy**. Diane and Cyprienne are twin sisters. They were born a few months after Louis de Penhoël left his home. They are both alike and different. Both are brown-haired and look like Louis de Penhoël, but Diane is \"tallest, more earnest and perhaps more beautiful than her sister\" (« *plus grande que sa sœur, plus sérieuse et peut-être plus belle* »). Diane has brown eyes, whereas Cyprienne\'s are dark blue. She also is more serious, more grown up, cleverer and stronger. Cyprienne compares her sister to a captain and herself to her soldier. They love each other very much but Diane sometimes acts with Cyprienne like a mother would do with her daughter. Although they are introduced at the beginning of the novel as Jean's daughters and the secret of their birth is uncovered at the end of the story only, the reader soon guesses that they are Louis and Marthe's illegitimate children. They are both devoted to the people they love and show both great courage and naïveté against the danger that threatens their family.
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: **Louis de Penhoël**, Lord Berry Montalt. René's elder brother leaves Brittany when his brother tells him that he loves Marthe. Torn between his love for Marthe and his love for his brother, he decides to make a sacrifice of the former. He writes to his brother one year after he left but René does not answer. Towards the time when Blanche was conceived, he came back to Penhoël, but René refuses to let him in. He then goes away for good. He calls himself Berry Montalt, says that he is English, makes a fortune but does not find happiness. Then he grows fond of Vincent, Étienne, Roger, Diane and Cyprienne, whereas he does not even know that they are related to Penhoël. During the duel, he is recognized by Jean de Penhoël. He does not feel grudge against René and tries to save him, but he does not spare Pontalès, nor Robert and his accomplices.


# Les Belles-de-nuit ou Les Anges de la famille
### The Penhoëls
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: **Marthe de Penhoël**. She is an orphan who was brought up by the *Commandant* de Penhoël and his wife after her parents\' death. Both Louis and René fall in love with her. Whereas she is in love with Louis, his parents and brother make her think that he never loved her and marries René after he left. Only Uncle Jean and his wife support her and know her secret: they and Benoît Haligan helped her when she gave birth to Diane and Cyprienne, Jean\'s wife brought up the children as their own. When her daughter Blanche was born, she transfers her whole love to her and displays strictness and sometimes harshness towards Diane and Cyprienne. Her tenderness towards Blanche weakens once only: after her eldest daughters\' \"death\", she reproaches Blanche, ill and asleep, of having rob from them the love they that was due to them. Diane\'s and Cyprienne\'s \"death\" and the kidnapping of Blanche deprives her from her strength and she sinks into apathy until she comes back in Penhoël, where she finds again her daughters, Louis and all those she loves but despaired of seeing again. Marthe\'s part is a passive one in the novel.
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: **Roger de Launoy**. Roger is Marthe\'s and René\'s adoptive son. He was adopted because the couple despaired of having a male heir. He is of the same age as Vincent -- eighteen at the beginning of the story. Later, it is said that ha has lived for twenty years at Penhoël\'s, meaning that he has been adopted soon after Louis left.
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# Les Belles-de-nuit ou Les Anges de la famille
### The Penhoëls
: Although he sometimes seems fickle, he is really devoted to his adoptive mother and deeply in love Cyprienne. The girl\'s nocturnal getaways make him think she loves someone else. He becomes Étienne Moreau\'s best friend and loves him as a brother. He is also proud, clever and brave. His affection towards René de Penhoël dies down as the latter gets influenced by Robert and shows less consideration for him. When he is thrown out of Penhoël, he decides to leave Brittany and catch up with Étienne at once.
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: **Blanche de Penhoël**. She is Marthe\'s and René\'s only daughter and looks like her mother. She is pretty, but has a languishing kind of beauty unlike her half-sisters. She also is a very fragile and naïve girl. Her father thinks she is Louis\'s daughter, because Louis came back at the time she was conceived. Robert de Blois decides to marry to inherit the estate. She does not play an active part in the novel.
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: **René de Penhoël**. He is Louis\'s younger brother. He is only one year younger and from his childhood, he has been the weaker of the two. Louis used to make a sacrifice of everything for him, so when he fell in love with Marthe, he told his brother of it and Louis decided to make a sacrifice once more and left Brittany. He is mad about his wife but suspects her of being in love with Louis. He is pathologically jealous, even after he became Lola\'s lover. He even uses violence against Marthe, who is protected by Uncle Jean only. In the end of the story he is ready to let his brother be killed and while dying, he seems to prefer letting himself drown rather than accept Louis\'s outstretched hand.
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# Les Belles-de-nuit ou Les Anges de la famille
### The Penhoëls
: **Jean de Penhoël** is the *Commandant* de Penhoël\'s younger brother. He is a poor man and lives thanks to his brother\'s generosity. He never forgot Louis, whom he loves as his own son. He also loves Marthe, whom he sees as a daughter, and he and his wife decide to adopt their children. He brings Diane and Cyprienne up, telling them to adore God and love Penhoël above all. He recognizes his nephew during the duel.
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: **Vincent de Penhoël**. He is Jean\'s only child. He is secretly in love with his cousin Blanche but does not say anything about it since Blanche is a rich heiress and he is hard up. He leaves Penhoël after he raped her. It is the main difference between Louis and Vincent: Louis leaves Brittany so that his brother can marry Marthe but not because he had sexual relations with her, whereas Vincent goes away because he is ashamed of his act. When he hears that Blanche was kidnapped, he goes to Paris and is imprisoned because of another crime he committed: he killed an officer in a duel. Robert makes him think that Blanche has been kidnapped by Montalt, so that he challenges the Englishman to another duel.

### Other characters
: **Robert Camel, aka *l'Américain* (American)**, **Robert de Blois, the Chevalier de las Matas**. He is twenty-five at the beginning of the story and has been mixing with mobsters for ten years. He is a ruthless, talented actor and he extorts the family\'s story from old Géraud, the inn-keeper. He is unscrupulous and decides to marry Blanche to inherit the fortune. He kidnaps her and has her guarded by Lola in Paris. He thinks that he can buy Penhoël\'s Manor with Montalt\'s money and tries to make an accomplice of him -- in vain.
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# Les Belles-de-nuit ou Les Anges de la famille
### Other characters
: **Étienne Moreau**. He is a Parisian painter of about twenty in 1820. He is sent for by René to decorate Lola\'s chamber. Étienne does not know if he has talent -- and many people think he has none and say that he is a \"dauber who came from Paris to put red and blue upon the walls\". Only Roger thinks he is really talented. The relations between Étienne and Roger are much the same as between Diane and Cyprienne. Although they are not related, they love each other like brothers and when Étienne is thrown out of Penhoël he leaves Roger with these words: \"Remember that I am your brother and that my home, although small and poor, will always be large enough to shelter us both. « *Souviens-toi que je suis ton frère et que ma demeure, si petite et si pauvre qu'elle soit, sera toujours assez grande pour nous abriter tous deux.* » The likeliness between Diane and Cyprienne, and Étienne and Roger is also perceptible in their personalities. They have the same qualities and faults. Diane and Étienne are more earnest than Cyprienne and Roger, whereas Cyprienne and Roger are more frivolous than Diane and Étienne. The young men have different ways of behaving towards their girlfriends. Cyprienne\'s strange behavior makes Roger fear that she does not love him, Étienne trusts Diane in spite of her strange attitude.
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# Les Belles-de-nuit ou Les Anges de la famille
### Other characters
: **Blaise Jolin, aka *l'Endormeur* (Sleepy-Maker)**, **the Count de Manteïra**. Blaise is Robert\'s accomplice. He is physically stronger but not so shrewd than Robert. At the beginning of the story, fate -- or Robert\'s cheating at cards -- makes him Robert\'s manservant. His part is minor since it is Robert who is working toward René\'s ruin. Yet Blaise does not despair and thinks that he may become the only master of the estate. When the Penhoëls leave, he does not hesitate to cross swords with Robert, but he knows which side is bread is buttered and he makes up with Robert when they are thrown out by Pontalès.
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: **Bibandier**, **the Baron de Bibander**. He is a former receiver of stolen goods who was imprisoned in Brest. He introduced Robert and Blaise to each other. A good-humored gangster, he spares Diane\'s and Cyprienne\'s lives in exchange for money. He is the only one who survives at the end of the story. After he escaped from penal colony, he lives on in Brittany with his dog as his only accomplice. he hopes that Robert and Blaise will share Penhoël\'s fortune with him but is bitterly disappointed, so he gets on the right side of Pontalès and then rejoins Robert and Blaise.
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: **The Marquess Basile de Pontalès**. He belongs to a poor family who made a fortune during the French Revolution, in 1793. He becomes Robert\'s accomplice as the latter thinks he can be useful to appropriate the estate. Pontalès himself decides to use Robert to seize the whole estate. Although he is a cautious man, he is dragged by Robert into the \"murder\" of Diane and Cyprienne. His hate toward Penhoël became a kind of *idée fixe* and he stabs René when Robert\'s attention is diverted.
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# Les Belles-de-nuit ou Les Anges de la famille
### Other characters
: **Lola**, **The Marchioness d\'Urgel**. Lola comes from the side streets of Paris. She used to dance \"on a tightrope not to be beaten\" before she was taken away by Robert. The relations between them are not unclear. They are not in love: Robert treats Lola almost like a slave and Lola is used to obeying him.
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: **The Count Alain de Pontalès** is The Marquess\'s son. He is described as a wicked and wayward young man. He is passionately in love with Lola and becomes her lover. Lola persuades him to challenge Montalt to a duel during which he will be killed.
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: **François Géraud**. He is an inn-keeper of the town of Redon and a faithful servant to Penhoël. He naively tells Robert the story of the family because he thinks him to be a friend of Louis\'s, then repents himself. He ruins himself to give René money and pay his debts. When the family is forced to leave the Manor, Géraud goes to Paris with them to help them, but is taken ill soon after.
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: **Mr. Protais Le Hivain, aka Macrocephalic**. Le Hivain is a dubious lawyer. He is called Macrocephalic (i.e. long-shaped head) by the schoolmaster of the village of Glénac and plays a double game. He seems to be a faithful servant to Penhoël and makes him run into debts. He lets Robert think he is his accomplice but is on Pontalès\'s side. He is eventually killed by Louis.
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# Les Belles-de-nuit ou Les Anges de la famille
### Other characters
: **Benoît Haligan**. He is a boatman, a bonesetter and a former Chouan. He is also psychic and slightly xenophobic, but he is faithful to Penhoël. His gifts for mediumship allow him to guess who Robert really is from the very moment when they meet. He slowly dies but only Diane and Cyprienne come and take care of him? He leaves them his whole fortune -- sixty one-hundred-livres coins. He predicts more than once that the three Penhoël girls will die and that Louis will come back too late, but hopes that he is mistaken. The night he is murdered by Robert de Blois, he sees the Penhoëls coming back home in his ecstasy.

#### Nicknames resulting from judicial slang
Robert\'s and Blaise\'s nicknames (American and Sleepy-maker) result from the slang of the time. *Americain* (American) results from the *vol à l\'américaine* (American stealing). The crook pretends to be rich (and coming from America, which was considered to be a kind of El Dorado). *Endormeur* (Sleepy-maker) was a nickname given to the thieves who would operate in trains, putting a narcotic in the passengers\' drinks and then robbing them.
Paul Féval\'s novels are often about an heir who disappear several years before coming back. Yet there is an important difference between *Les Belles-de-nuit ou Les Anges de la famille* and some others stories. In *Le Bossu* or *Le Loup blanc*, the heirs disappear against their will: Lagardère kidnaps Aurore de Nevers in order to protect her from Gonzague; Jean Blanc kidnaps Georges Treml after an attempted murder, but the child disappears once more --- kidnapped by a street acrobat. In *Les Belle-de-nuit*, Louis goes away willingly.


# Les Belles-de-nuit ou Les Anges de la famille
### Other characters
#### Nicknames resulting from judicial slang
Likeliness between the characters are also found in different novels by Féval. Diane and Étienne are as earnest as Lagardère and Aurore, whereas Roger and Cyprienne are much more like the Marquess de Chaverny and Flor. Séid, Montalt\'s manservant, symbolizes blind obedience; he never questions his master\'s orders and takes decision only when the circumstances require such a behavior (like Jude Leker in *Le Loup blanc*). On the contrary, Benoît Haligan does not hesitate to show René that he disagrees with him when he thinks he must do it to protect his master.

### Publication
After the *Belles-de-nuit* were published in a newspaper, they were published in six volumes by a Belgian publisher in 1850. The novel will be published again in 1850, then in 1859, 1861, 1866 and 1874.
In the second 1850 publication, the novel is followed by *Miss Olivia* a short story by Paul Féval. 1859 and 1861 publication also contain the short story *Les Armuriers de Tolède*, also by Féval.


# Les Belles-de-nuit ou Les Anges de la famille
### Publication
In the end of his life, converted to an uncompromising kind of Roman Catholicism. He rewrote most of his stories, including *Les Belles-de-nuit ou Les Anges de la famille* in 1887. The story is the same, but some passages are changed, cut or added, and the author wrote an epilogue in which he explains the fate of the main characters. Vincent marries Blanche and makes Penhoël\'s estate thrive with help from his father Jean. Étienne and Diane settle in Paris and the painter lives on his talents without making use of the diamond Montalt gave his wife. The law having found that Pontalès had seized Penhoël\'s estate unlawfully, Roger de Launoy buy them back with Cyprienne\'s dowry. But Marthe dies -- killed by the joy of seeing all those she thought dead and by the grieves she has endured for twenty years. Louis spends the rest of his life cherishing her memory, happy to see his own family happy. The end is thus a bit more dramatic because of Féval\'s new ideas. He must have thought that Louis, after living with impiety, had to repent himself. Louis could only repent with Marthe\'s dying.
The year before, the book had already been published again under another title: *L\'Oncle Louis* (Uncle Louis).
In 1927 and 1928, the French publisher Albin Michel published the novel in three volumes:
- *Diane et Cyprienne* Diane and Cyprienne (Part 1 + the first eight chapters of part 2)
- *L\'Aventurier* The Adventurer (end of part 2 + part 3 + the first five chapters of part 4)
- *Les Filles de Penhoël* The Penhoël girls (end of part 4 + part 5).
In July 2011, Nabu Press published some parts of the novel.


# Les Belles-de-nuit ou Les Anges de la famille
### Discrepancies in the novel
There some discrepancies in the story -- in the description of the characters, in their age and in the date. At the beginning of the story, it is said that Louis went away fifteen years ago. The age of the characters is according to this statement: Diane are between fourteen and fifteen, Blanche is twelve, Vincent eighteen, René, thirty-five\... The other parts of the story take place three years later, but Féval writes that Louis went away twenty years ago and the age of the characters also changes: Diane and Cyprienne are nineteen, Blanche is seventeen etc.
As for Mr. Géraud, the inn-keeper, he is first described as an old bachelor, then it is said that he was married even when he was cook on a boat.
The physical description of the characters also changes. When they are first described, it is said that Diane\'s eyes are dark blue, while Cyprienne\'s are dark. Later, Diane is said to have brown eyes and Cyprienne dark blue ones. Then Paul Féval changed his mind and made Benoît Haligan tell the twins: \"You have his Louis\'s wide fiery eyes\" (\"*Vous avez ses grands yeux de feu*\"), meaning that Louis, Diane and Cyprienne have dark eyes.
René too is described differently in some parts of the story. It is first said that he has chestnut brown hair, then that his hair was blond and became white.
As for Marthe, Féval first describes her as a fair-haired woman, then writes \"her black let down hair\".

### Stage adaptation
The very year of the beginning of the publication, the novel is adapted as play by Amédée Achard, Paul de Guerville and Paul Féval in 1849. Many changes occurred, more particularly in the number of characters and the end of the story.


# Les Belles-de-nuit ou Les Anges de la famille
### Translations
The novel was translated into several languages, more particularly once into Russian (*Ночные красавицы*, Beauties of the Night and twice into Gertman (*Die Nachtschönchen, oder: die Schutzengel der Familie*, Beauties of the Night, or the Guardian Angels of the Family, in 1850 and *Die Engel des Hauses*, The Angels of Home, in 1851).

### Beauties of the night
Beauties of the night (in Breton *Boked ar sterenn*, plural form *Bokidi ar sterenn*) are creatures of Breton folklore who remind one of the Willis. They are girls who died of a broken heart. Bretons also call \"Beauties of the night\" the *Mirabilis jalapa* and the stars.
The Beauties of the night in the story are Diane and Cyprienne de Penhoël, who are also named \"Angels of the Family\". Blanche may be called a Beauty of the night too, since she is nicknamed the \"Angel\" and Benoît Haligan always talks of the beauties of the night as if there were three of them.
The legend of the Beauties of the night gave birth to a Breton lament that Paul Féval rewrote in his novel.
Breton lyrics
Literal English translation
Adapted lyrics by Paul Féval
Translation of Paul Féval\'s lyrics
*Krennblac'hig, sterennig, bleuñvennig!*
Little flower, little star, little girl!
*Anges de Dieu, qui souriez dans l\'ombre, Blanches étoiles, vierges, fleurs, Vous qui des nuits semez le manteau sombre, Anges aimés, Pour guérir nos terreurs\...*
You angels of God, smiling into darkness, You white stars, virgins, flowers, You who sow night\'s dark cloak, You beloved angels, To heal our fears\...


# Les Belles-de-nuit ou Les Anges de la famille
### Beauties of the night
*Ar boked ar sterenn a zo ar bleuñvenn karet gant ar Werc'hez Mari. Ar bleuñvenn bihan rosoc'h eget ar rozenn, gwennoc'h al lilienn, ken glas hag ar pers ar baradoz. Ar bleuñvenn a stou, a-veure, heñvel ar gristennez a bed\...*
Beauty of the night is the Virgin\'s Mary beloved flower. The little flower pinker than the rose, whiter than the lily, as blue as the azure of Paradise.The flower that bents in the morning, like the Christian woman praying\...
*Belle-de-nuit, fleur de Marie, La plus chérie De celles que l'ange avait mis Au paradis! Le frais parfum de ta corolle Monte et s'envole Aux pieds du Seigneur, dans le ciel, Comme un doux miel.*
Beauty of the night, Mary\'s flower, the dearest Of those the Angel had put In Paradise! The fresh fragrance of your corolla Goes up and flies away At the feet of the Lord in Heaven, like sweet honey.
*Ar boked ar sterenn a zo ar sterenn bihan, diamant glan an neñv. Ar sterenn a re kalon pa eer a-raok na karje an heol en hentoù riv adarre leun gant tasmantoù\...*
Beauty of the night is the little star, pure diamond of the sky. The star who gives courage when one is wending before sunrise in the cold paths, still full of ghosts\...
*`Belle-de-nuit, pourquoi ce voile, Petite étoile Que le grand nuage endormi Couvre à demi? Montre-nous la vive étincelle De ta prunelle, Qui semble au bleu du firmament Un diamant.`*


# Les Belles-de-nuit ou Les Anges de la famille
### Beauties of the night
Beauty of the night, what for this veil, You little star That the large asleep cloud Half covers? Show us the bright flash Of your eye, That seems, in the blue of firmament A diamond.
*Ar boked ar sterenn a zo ar grennblac'h yaouank marv, an hini goant, an hini zous! marv dre garantez\... Ar paourkaezh plac'h disliv a ouel a-hed an dour hag amaint o selaou ar c'haloned trist selaont. An hini goant ha zous na oa nemet c'hwezek vloaz, siwazh! pa gouskjomp hi dindan al louzou\... Gant an noz adreñv an haleg eo, gwisket holl e wenn evel ur vestrez. An avel-mañ a glemmgan en ar brankoù, he anal eo\... Ar berlezenn emañ oc'h ober lugern an heol mintinek war ar zelienn kouezhet, ur daer he faourkaezh daoulagad eo\...*
Beauty of the night is the dead young girl, she pretty and gentle! dead of a broken heart\... The wretched pale girl who weeps along the river and that sad hearts listen to. The pretty and gentle one who was sixteen, alas! when we laid her out under grass\... At night she is under the willows, dressed all in white like a fiancée. This wind that complains in the branches is her breath\... This pearl that the sun makes glint on the fallen leaf is a tear from her poor eyes\...


# Les Belles-de-nuit ou Les Anges de la famille
### Beauties of the night
*Belle-de-nuit, ombre gentille, Ô jeune fille! Qui ferma tes beaux yeux au jour? Est-ce l'amour? Dis, reviens-tu sur notre terre Chercher ta mère? Ou retrouver le lieu si doux Du rendez-vous?... C'est bien toi qu'on voit sous les saules: Blanches épaules, Sein de vierge, front gracieux Et blonds cheveux... Cette brise, c'est ton haleine, Pauvre âme en peine, Et l'eau qui perle sur tes fleurs, Ce sont tes pleurs...*
Beauty of the night, you nice shade, O you, young girl! Who closed your eyes to daylight? Is it love? Tell me, do you come back in this world To looking for your mother? Or to see again the so sweet place Of the date?\... It is you that one sees under the willow: White shoulders, Virginal breast, graceful brow And fair hair\... This breeze is your breath, You wretched soul in torment, And the water that stands out on your flowers are your tears\...


# The Demon (novel)
***The Demon*** is the third novel by Hubert Selby, Jr., first published in 1976.
The story of Harry White, a man haunted by lust and an insane need for sin and retribution.
It was Andy Kaufman's favorite book and he said of it, "That's my mind in a nutshell."


# Gardens of the Sun
***Gardens of the Sun*** is a 2009 science fiction novel by Paul J. McAuley. It was initially published by Gollancz on November 19, 2009 as a sequel to the 2008 novel *The Quiet War*.
Although *The Quiet War* and *Gardens of the Sun* can be read as standalone novels, taken together they form the two halves of the story of the \"Quiet War\" of the title. The primary conflict is between the radical environmentalism of the inner system, led by the new superpower governments (such as Greater Brazil) and the posthumanism of the Outers. Having narrowly avoided the destruction of Earth\'s ecosystems, the feudal Greater Brazil attempted to return most of the planet to a \"natural\" state, to the extent that most of Earth\'s population inhabits a few megacities. The Outers, by contrast, survive by terraforming the moons of Jupiter and the other outer planets and practicing genetic engineering, which caused ideological tension with Greater Brazil, ultimately flaring into a full-scale conflict called the \"Quiet War\".
By the time of *Gardens of the Sun*, the war is over. The surviving Outers have been forced to Uranus, Neptune and Pluto as the superpowers of Earth raid the moons of Jupiter and Saturn for Outer knowledge. However, Greater Brazil\'s policies are starting to come apart under the strain of their inflexible opposition to change and democracy. The novel follows the major characters from *The Quiet War* in the aftermath, including the clone assassin Dave #8, ecologist Macy Minnot, Greater Brazilian diplomat Loc Ifrahim, and genetic engineer Sri Hong-Owen as they adjust to the new order of the solar system.


# Gardens of the Sun
Parts of the novel are modified versions of elements from the earlier short stories \"The Gardens of Saturn\", \"The Assassination of Faustino Malarte\", \"The Passenger\" and \"Dead Man Walking\".
In his review for the SF Site, Rich Horton recommended *The Quiet War* and *Gardens of the Sun* as \"among the best hard SF novels of recent years,\" giving particular praise to McAuley\'s construction of the setting and politics. Adam Roberts found the ending of the novel to be its weakest aspect and excessively \"neat\" as well as noting that the books should be combined as an omnibus but concluded that the diptych \"is a very major work of contemporary science fiction, amongst the great genre achievements of the noughties, a long novel that will still be being read and remembered fifty years from now.\"


# Via Mala (novel)
***Via Mala*** is a novel by the Swiss writer John Knittel, which was first published in 1934. After the disappearance of a tyrannical sawmill owner in a village in Switzerland, his family is widely suspected of having murdered him.
The title *Via Mala* refers to the Viamala, a historic route through the Rhine canyon in Switzerland. Literally, it means *bad path*. All main characters in the novel walk on a *bad path*, not only the miller Jonas Lauretz, but also his family, guilty or not, and even the judge.
The criminal story is based on a case of murder reported from the Obermühle (Upper Mill) in Kirchensittenbach, Bavaria, in 1817.
The novel was turned into a film *Via Mala* directed by Josef von Báky during the Nazi era. The film had a troubled production and was released only a month before the end of the Nazi regime. The film was remade in 1961 and a television adaptation *Via Mala* was broadcast in 1985.
- O\'Brien, Mary-Elizabeth. *Nazi Cinema as Enchantment. The Politics of Entertainment in the Third Reich*. Camden House, 2006.


# Taipei (novel)
***Taipei*** is a 2013 novel by Tao Lin. It is his third novel.
On August 15, 2011, *The New York Observer* reported that Lin had sold his third novel, then titled *Taipei, Taiwan*, to Vintage. Lin\'s agent, Bill Clegg, brokered the deal with editor Tim O\'Connell based on \"a 5000-word excerpt and a \~3-page outline\", for \"\$50,000 with a \$10,000 bonus if it earns out its advance.\" Lin reportedly chose Vintage after meeting with four other editors, including those at Little, Brown and Harper Perennial. Earlier that morning, the *Wall Street Journal* broke the news and briefly interviewed Lin on his decision. Lin said, \"Vintage/Knopf publishes most of my favorite writers: Lorrie Moore, Ann Beattie, Bret Easton Ellis.\"
On February 1, 2013, *Entertainment Weekly* debuted the cover. The article also included an interview with Lin, who said, of the autobiographical nature of the book:
Writing autobiographically is more difficult because I\'m editing a massive first draft of maybe 25,000 pages---my memory---into a 250-page novel. It\'s less difficult because I don\'t need to write a 25,000-page first draft; it\'s already there, in some form, as my memory. Related: I don\'t view my memory as accurate or static---and, in autobiographical fiction, my focus is still on creating an effect, not on documenting reality---so \"autobiographical\", to me, is closer in meaning to \"fiction\" than \"autobiography.\"
The article did not comment on the cover, except to say that it was \"shiny.\" Thought Catalog, in an article titled \"The Cover For Tao Lin\'s New Novel Looks Sweet,\" wondered how it would appear: \"The version online is a shiny gif. It will be interesting to see what the cover looks like on a physical copy.\"
The description on the back of the advance galleys, distributed in early January and notably including prescription pill bottles containing candy, stated:


# Taipei (novel)
*Taipei* by Tao Lin is an ode\--or lament\--to the way we live now. Following Paul from New York, where he comically navigates Manhattan\'s art and literary scenes, to Taipei, Taiwan, where he confronts his family\'s roots, we see one relationship fail, while another is born on the internet and blooms into an unexpected wedding in Las Vegas. Along the way---whether on all night drives up the East Coast, shoplifting excursions in the South, book readings on the West Coast, or ill advised grocery runs in Ohio---movies are made with laptop cameras, massive amounts of drugs are ingested, and two young lovers come to learn what it means to share themselves completely. The result is a suspenseful meditation on memory, love, and what it means to be alive, young, and on the fringe in America, or anywhere else for that matter.
On February 25 Publishers Weekly, in a starred review, predicted *Taipei* would be Lin\'s \"breakout\" book, calling it \"a novel about disaffection that\'s oddly affecting\" and noting that \"for all its emotional reality, *Taipei* is a book without an ounce of self-pity, melodrama, or posturing.\"
Bret Easton Ellis tweeted praise for the novel soon after its release. Frederick Barthelme also voiced praise for the novel:
Tao Lin has made a distinctive career out of sticking to his guns, his guns being the ultra-high-res self-consciousness that characterizes our lives but which we routinely ignore in our lives and in our art. In Taipei he is a constant microscope, examining a world of miniature gestures, tiny facial movements, hands in motion, shrugs, nods, twists, ticks, flicks and snaps, a world in which the barrage of information we take in moment by moment is simultaneously cataloged, interpreted, cross-referenced, recorded, and filed.
On March 14 the *New York Observer* included *Taipei* in its \"Spring Arts Preview: Top Ten Books\", calling Lin \"an excellent writer of avant-garde fiction\" and *Taipei* \"his most mature work \... Mr. Lin has refined his deadpan prose style here into an icy, cynical, but ultimately thrilling and unique literary voice.\"


# Taipei (novel)
*Taipei* was published on June 4. Early reviews were positive, including those from *New York Observer*, *Elle*, *The Globe And Mail*, and *Slate*. Mixed reviews included those from *New York Times* and *National Public Radio*, both of whose reviewers seemed to both \"love and hate\", as Dwight Garner said in his *New York Times* review, Lin\'s book.
In The Daily Beast critic Emily Witt reviewed the book very positively:
Taipei is exactly the kind of book I hoped Tao Lin would one day write. He is one of the few fiction writers around who engages with contemporary life, rather than treating his writing online as existing in opposition to or apart from the hallowed analog space of the novel. He\'s consistently good for a few laughs and writes in a singular style already much imitated by his many sycophants on the Internet. Some people like Tao Lin for solely these reasons, or treat him as a sort of novelty or joke. But Lin can also produce the feelings of existential wonder that all good novelists provoke. His writing reveals the hyperbole in conversational language that we use, it seems, to make up for living lives where equanimity and well-adjustment are the most valued attributes, where human emotions are pathologized into illness: we do not fall in love, we become \"obsessed\"; we do not dislike, we \"hate\". We manipulate ourselves chemically to avoid acting \"crazy.\"
Clancy Martin, reviewing for *New York Times Book Review*, said:
Here we have a serious, first-rate novelist putting all his skills to work. *Taipei* is a love story, and although it\'s Lin\'s third novel it\'s also, in a sense, a classic first novel: it\'s semi-autobiographical (Lin has described it as the distillation of 25,000 pages of memory) and it\'s a bildungsroman, a coming-of-age story about a young man who learns, through love, that life is larger than he thought it was.
*Taipei* was listed as a best or favorite book of 2013 by *Times Literary Supplement*, *Evening Standard* Slate, Vice, Complex, *Village Voice*, Bookforum, Buzzfeed, The Week, Salon, Maisonneuve, other venues.


# Taipei (novel)
A Spanish edition from Alpha Decay and a French edition from Au Diable Vauvert was published in January 2014. The French edition uses a variation of the English cover. A Romanian edition was published in 2019. Also forthcoming are Dutch, German, and Italian editions.
A film adaptation written and directed by Jason Lester and starring Ellie Bamber, Justin Chon, Hannah Marks, Miles Robbins, and Katherine Reis was released under the title ″*High Resolution*″ in October 2018 through Showtime.


# A Time to Die (Smith novel)
***A Time to Die*** is a 1989 novel by Wilbur Smith. Set in 1987, it is chronologically the last of the 13 Courtney Novels. Smith did not regard it strictly as a Courtney novel, however, claiming \"it\'s just got a Courtney name in it. It\'s not in the mainstream of the series.\"
The story line had some similarities to Smith\'s screenplay *The Last Lion* (1972).
Set against the majesty of the African landscape, its great plains, swamplands, forests and mountains, A Time to Die is a story of courage and friendship, the thrill of the hunt, the savagery of war and the saving power of love.
Retired guerrilla fighter Sean Courtney is over forty years old and facing the possibility of losing his professional hunting licence. His long-time friend and client Riccardo Monterro is approaching sixty and is hunting with Sean on his last safari accompanied by his beautiful twenty-six-year-old daughter Claudia. Hunting Tukutela, a grand old bull tusker who carries possibly the heaviest set of ivory in all of Africa the three of them along with an entourage of black trackers and gun bearers tenaciously follow the old bull across the border into war torn Mozambique.
Caught up in the Mozambican Civil War Sean encounters one of his bitterest enemies from his guerrilla days and finds himself and his friends in a desperate struggle for survival.
Amidst the horrors of war he falls in love with young Claudia and she likewise falls in love with him, but the trick is to get out of Mozambique alive so that they can enjoy their newfound love.


# Jeunes filles en serre chaude
Cover, 1934
\'\'\'\'\'\'\'*\' (*Young girls in a hothouse\'\') is a 1934 novel by the French author Jeanne Galzy. Its protagonists are young women at the École normale supérieure de jeunes filles in Sèvres, a suburb of Paris, at the time a girls-only school. The school, which Galzy herself attended, trained girls especially as teachers for the secondary education system. The background for the events in the novel is the 50th anniversary of the secondary school system for women; it is one of many French novels and other (autobiographical) texts of the period in which authors\' school and university experiences were recounted.
Following *Burnt Offering* (1929) and *Les Démons de la solitude* (1931), it is the third novel by Galzy (this one with a \"seductive title\") to explore lesbian desire. The intergenerational love in the novel (between a teacher, Gladys Benz, and a student, Isabelle, told from Isabelle\'s point of view) is likewise a reflection of Galzy\'s own experiences. The school was reputed to be a \"breeding ground of homosexual relationship\", and had earlier been the subject of a novel exploring same-sex desire, *Les Sévriennes* (1900) by Gabrielle Reval.
Like most of Galzy\'s novels, \'*\' is neglected by modern readers, though it did attract some attention at the time of publication. A French reviewer remarked that the novel shows that \"overworked brains\" sometimes fall prey to \"dangerous aberrations\". A brief note in*The Modern Language Journal*remarked that \"trivial but intensely human emotional reactions are realistically depicted\", and the 1935*New International Year Book\'\' warned that the students depicted in the book have a \"strong emotional reaction of an undesirable nature\". The book is no longer in print; passages from it were anthologized in a 1985 collection of erotic women\'s literature.


# The Caxtons
***The Caxtons: A Family Picture*** is an 1849 Victorian novel by Edward Bulwer-Lytton that was popular in its time.
The book was first serialized anonymously in *Blackwood\'s Magazine* from April 1848 to October 1849, and first published in novel form (in three volumes) in Britain in 1849. In the United States, it was serialized in *Harper\'s Magazine* (1850--53) and *Littell\'s Living Age* (1850-52).
The novel was \"instantly popular\" in Britain and also sold 35,000 copies within three years of its release in the United States.
A synopsis of the plot from a 1910 reference work states:
The Caxtons are Austin Caxton, a scholar engaged on a great work, \"The History of Human Error;\" his wife Kitty, much his junior; his brother Roland, the Captain, who has served in the Napoleonic campaigns; the two children of the latter, Herbert and Blanche; and Austin\'s son, Pisistratus, who tells the story. The quiet country life of the family of Austin Caxton is interrupted by a visit to London. There Pisistratus, who has had a good school education, though he has not yet entered the university, is offered the position of secretary to Mr. Trevanion, a leader in Parliament. Lady Ellinor, Mr. Trevanion\'s wife, was loved as a girl by Roland and Austin Caxton; but she had passed them both by to make a marriage better suited to an ambitious woman. By a freak of fate Pisistratus now falls in love with her daughter Fannie; and when he finds that his suit is hopeless, he gives up his position under Mr. Trevanion, and enters Cambridge University, where his college course is soon closed by the financial troubles of his father. A further outline of this story would give no idea of its charm. The mutual affection of the Caxtons is finely indicated, and the gradations of light and shade make a beautiful picture. Never before had Bulwer written with so light a touch and so gentle a humor, and this novel has been called the most brilliant and attractive of productions. His gentle satire of certain phrases of political life was founded, doubtless, on actual experience.


# The Caxtons
The Caxtons are asserted to have descended from William Caxton, the first English printer. In the latter part of the novel, two characters emigrate to Australia, and emigration is positively depicted as a chance for redemption.
Pisistratus Caxton also serves as the nominal narrator of *My Novel* (1853) and *What Will He Do With It?* (1858).
From the time of its release, comparisons of the work to *Tristram Shandy* were frequent, with a few commentators suggesting the borrowing was perhaps too much, but the former work can be ultimately seen more generally as an inspiration than a source text.
The *Stanford Companion to Victorian Fiction* (1989) states that the \"domestic milieu and easy-going narrative manner\" of *The Caxtons* stands in contrast to the author\'s prior melodramatic works, and \"marks a turning point in Bulwer-Lytton\'s career, and in Victorian fiction generally.\"
The description of Edgar Allan Poe in Rufus Wilmot Griswold\'s negative and much-republished 1849 obituary of Poe is in part a lengthy quote of the description of the character Frances Vivian in *The Caxtons*. The passage was marked with quotes in the original obituary, but the quotes were omitted when later republished.


# Avakasikal
***Avakasikal*** (*The Inheritors*) is a Malayalam-language novel by Vilasini (M. K. Menon) published in 1980. It runs into 3958 pages, in four volumes, and is the second longest novel written in any Indian language after Jeymohan\'s Tamil epic Venmurasu.
*Avakasikal* is Vilasini\'s fifth novel and was in the making for about 10 years. It was published by Sahithya Pravarthaka Co-operative Society, world\'s first writers\' co-operative, in 1980 and was soon taken up by critics and readers as an exceptional work of art. It was soon named one of the finest works in Malayalam literature and is now considered as Vilasini\'s magnum opus. It won numerous awards including Sahitya Akademi Award and Vayalar Award. After remaining out-of-print for many years, Calicut-based Poorna Publications published the book in 2012.
Set in Malaysia, the novel deals with Velunni Kurup, a septuagenarian self-made millionaire and a host to his greedy relatives who try to defraud him of his wealth. Krishnanunni, a leading lawyer and a close friend of Velunni Kurup is the protagonist of the novel. The novel depicts the minds of about ten persons belonging to four generations with great insight.
- 1981: Sahitya Akademi Award
- 1981: Odakkuzhal Award
- 1983: Vayalar Award


# Tiger by the Tail (Coelho novel)
First edition
***Tiger by the Tail*** is a 2013 novel by Indian author Venita Coelho (also the author of the story collection *Dungeon Tales*). It has been illustrated by Priya Kuriyan and published by Hachette India. The novel tells the story of Rana, an eleven-and-a-half-year-old boy, who is on a mission to save the tigers from disappearing from various Indian forests.
Rana is eleven and a half years old, and is a sickly and allergic child. He has a grandfather who is an inventor, and who keeps trying to make various remedies for Rana\'s problems, and also carries out experiments. But one day, he discovers a tiger on their doorstep, who demands breakfast and turns out to be Bagha, a friend of Rana\'s grandfather. Rana discovers that he can speak to animals, and his parents had started an intelligence agency called the AIA (Animal Intelligence Agency). Its aim was to capture poachers and ensure protection for all sorts of wildlife. However, it was destroyed by an attack on the headquarters which killed Rana\'s parents. Bagha has come to Rana\'s grandfather to seek guidance as tigers are disappearing all over India. It is the dreaded enemy of all animals, the Taker, who is the poacher responsible for the death of Rana\'s parents. Rana convinces Bagha to let him accompany him on his mission, as he desires revenge. After a misadventure involving notorious gangster called Muchchhad Master, they reach the Red Fort in Delhi, India, to seek a disgraced former agent of the AIA, called Kela, who was removed from duty after the Incident of the Exploding Mangoes. He leads them to Taklé, who is another criminal who keeps animals. From there, they learn they have to go to Kathmandu, where they meet a holy bull called Kaloji (Agent Number 27), who tells them that the Tigers are going to Tibet. After that follows a dangerous adventure to Tibet, where they are rescued from the extreme cold by the Yeti or the Abominable Snowman. From Tibet, they journey on to the Forbidden City, where they find another city underground. The missing tigers are all part of an operation to overthrow the governors of China and install the descendant of the last Emperor, \'the General\', on the throne. Using the tigers, he has taken a part of their genes to make an elixir which will make its user immortal. Rana manages to save the tigers, and by mistake, receives a shot of the elixir, which makes him immortal. But the General is not the last enemy to be defeated. The Taker is still at large, and when the final confrontation comes, it is much more terrible than Rana has ever thought.
Venita Coelho is a writer and an artist who lives in Goa. She has had a career in television and is also a screenwriter. As an artist, she works on glass and canvas.


# Krindlekrax
***Krindlekrax*** is a thriller children\'s novel by author Philip Ridley. It was first published in 1991 by Jonathan Cape and republished in 1992 by Red Fox and then again in 2001 by Puffin Books where it is still in print.
The book won the Nestlé Smarties Book Prize in 1991 in the 9 -- 11 age category. It was also selected by children aged 9 to 12 as the winner of the 1993 WH Smith Mind-Boggling Book Award.
The book became a Tellastory Audio Cassette in 1994 that was read by Rik Mayall.
In 2000, to celebrate the new millennium, Hachette Children\'s Group published *Out of this world*, a collection of extracts from \"the best in 20th century children\'s literature\". *Krindlekrax* was one of the books featured and appeared alongside such classics as Roald Dahl\'s *Matilda* and J.K. Rowling\'s *Harry Potter and the Philosopher\'s Stone*.
Ridley adapted *Krindlekrax* into a stage play, which premiered at Birmingham Repertory Theatre in 2002.
The story takes place in a street called Lizard Street, located in a town with cracked pavements, scorched brickwork and bumps and holes in the roads. It centres around a 9-year-old boy named Ruskin Splinter, who is small and thin with thick glasses, red frizzy hair, knock-knees and a squeaky voice. He wants to be the hero of a school play, but everyone criticises him for his appearance and voice, and the role is instead given to Ruskin\'s window-smashing former friend Elvis Cave. Ruskin\'s special friend is the local school caretaker, Corky Pigeon, who tells him his experiences with the evil monster that lurks in the sewers and terrorises the street, a giant fire breathing crocodile named Krindlekrax.
Later, Ruskin finds out from his drunken dad that everyone in Lizard Street was responsible for the monster getting into the sewers in the first place, and how it grew so big. Suddenly Corky unexpectedly dies, and everyone suspects it to be a heart attack, but Ruskin knows that Krindlekrax was responsible, and is angry with all of Lizard Street for allowing it to happen.


# Krindlekrax
Ruskin is so upset with Corky\'s death that he can\'t get out of bed, but many people bring him gifts and tell him the story of how Corky got a gold medal (that he later gave to Ruskin as a present) for saving Lizard Street. After this, Ruskin decides to save the street from the wrath of Krindlekrax once and for all.
Later that night, Ruskin lures the monster out of the sewers, and tames it by throwing Corky\'s medal in its mouth, banishing it to the sewers forever.
After catching a terrible cold, Elvis can\'t do the play any more, so Ruskin takes his place and it all goes well, but Elvis isn\'t pleased and smashes all the windows in Lizard Street that he can in a tantrum. Ruskin stops Elvis\' window smashing by bursting his ball and after a long talk, they become friends again.
The story ends with Ruskin saying how much he now loves his street.


# Krindlekrax
- **Ruskin Splinter**: The main character who may look small and dorky, but proves to be quite a hero.
- **Krindlekrax**: The monster who lurks under the sewers of Lizard Street. It was once an infant crocodile but grew into a fierce fire breathing monster.
- **Wendy Splinter**: Ruskin\'s mother who loves toast and tea and says \"Polly Wolly Doodle all the Day!\" when she gets flustered.
- **Winston Splinter**: Ruskin\'s father, a fired zookeeper who is always complaining and saying \"It\'s not my fault!\" and \"Don\'t interfere!\"
- **Elvis Cave**: The big and loud school bully who wears an American footballer\'s outfit and breaks windows (even when he sleepwalks), he was once Ruskin\'s friend but grew jealous of him when he became friends with Corky.
- **Sparkey Walnut**: A timid boy who wears a baseball player\'s outfit. He was once Ruskin\'s friend but became Elvis\' follower after he grew so tall and always said \"Yes Sir!\" to everything he said.
- **Corky Pigeon**: An elderly man who was once a sewer maintenance man, but later became the caretaker at St George\'s school. He loved chocolate biscuits and shared a lot in common with Ruskin about plays.
- **Mr. Lace**: The school teacher who enjoys sucking pencils and gets hysterical whenever William Shakespeare\'s name is mentioned.
- **Dr. Flowers**: A man who always has his pockets full of tissues to help with his hay-fever, which causes him to sneeze at regular intervals.
- **Mr. Flick**: A smart suited man who owns the cinema in Lizard Street.
- **Mrs. Walnut**: Sparkey\'s mother who owns the greengrocers shop and always smells of potatoes.
- **Mr. and Mrs. Cave**: Elvis\' parents who own the Dragon and the Golden Penny pub and seem to do nothing about their son\'s window smashing.


# Krindlekrax
Philip Ridley (himself an acclaimed playwright) adapted the novel into a stage play for children. The play premiered at Birmingham Rep, where it was performed from 20 -- 29 June 2002. The production transferred to the Nottingham Playhouse where it played 4 -- 20 July the same year.
**Premiere**
On 20 June 2002 at The Birmingham Repertory Theatre, Birmingham.Directed by Anthony Clark.
- Ruskin Splinter -- Gregor Henderson-Begg
- Wendy Splinter -- Maria Gough
- Winston Splinter -- Jamie Newall
- Corky Pigeon -- Alan Rothwell
- Elvis Cave -- David Florez
- Mr Cave -- Nick Stringer
- Mrs Cave -- Joy Aldridge
- Sparkey Walnut -- Sushil Chudasama
- Dr Flowers -- John Flitcroft
- Mr Lace -- David Kendall
- Mrs Walnut -- Bharti Patel
- Mr Flick -- Trevor Thomas
**Publication of script**
The script was published by Faber and Faber in 2002. However, the text became out of print due to Ridley leaving Faber and Faber in 2005 as a result of their refusal to publish his controversial stage play for adults *Mercury Fur*. Because of this Ridley then moved along with his back catalogue of plays to Methuen Drama, where many of them were republished, but not *Krindlekrax*. On 23 September 2016 Samuel French Ltd. announced on their Twitter page that 17 of Ridley\'s plays had been added to their catalogue to purchase performance rights to. Amongst the plays were *Kridlekrax*, the script of which has been republished by Samuel French in an \"acting edition\", after many years of being out of print.
It was revealed in 2005 that Ridley was working on a film adaptation of *Krindlekrax*. In 2012 Ridley\'s agent, Knight Hall Agency Ltd, wrote on their website that \"THE SUMMER OF 76 an adaptation of his own widely-acclaimed children's book KRINDLEKRAX is in development\".


# Krindlekrax
A potential film by Philip Ridley called *The Summer Of \'76* had previously been included as part of the line-up of the CineMart project market in 2003. CineMart is a event where film professionals can network and find \"money for projects to be realized either through co-production or any other means\" for films that are at various stages of development. The production company Kennedy Mellor Ltd were listed as being attached to the possible film. Development on this film might have began as early as 2001 because in June 2001 money was charged between Kennedy Mellor Ltd and the Childrens\'s Film and Television Foundation Limited for \"All the company\'s rights title and interest in the literary and artistic work by philip ridley entitled \"krindlekrax\" including: treatment and screenplays\".
In late 2019 reference to the development of the film was removed from Ridley\'s page on the Knight Hall Agency website.


# A Winter in Majorca
Manuscript page of the novel.
***A Winter in Majorca*** (whose original title in French is ***Un hiver à Majorque***) is an autobiographical travel novel written by George Sand, at the time in a relationship with Frédéric Chopin. Although published in 1842, it appeared for the first time in 1841 in the *Revue des deux Mondes*.
In the novel, Sand relates the details of her trip and stay with Chopin on the island of Majorca, due to the illness of the pianist. Sand, Chopin, and Sand\'s two children stayed in the charterhouse of Valldemossa for a few months, from the end of 1838 until February 1839, during which time they hoped that Chopin\'s tuberculosis would improve. However, the winter was hard and his health did not improve, and so they quickly returned to Barcelona, and eventually to Marseille and then Paris.
- George Sand
- Frédéric Chopin
- Valldemossa Charterhouse
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# Hire Manik Jale
***Hire Manik Jale*** () is a Bengali adventure novella written by Bibhutibhushan Bandopadhyay published in 1946.
Sushil, a brave Bengali boy meets Jamatullah and goes to an adventure to an island of Dutch East Indies with Sanat and Jamatullah, where they find a cave and many diamonds and other precious stones. But unfortunately dangers await for them there.
- Sushil
- Jamatullah
- Sanat
- Yaar Hossein