本书为公版书，为不受著作权法限制的作家、艺术家及其它人士发布的作品，供广大读者阅读交流。汇聚授权电子版权。

Brilliantly translated by Lydia Davis, here are Proust’s tormented, touching, and often very funny letters to his noisy neighbor. Marcel Proust’s genius for illuminating pain is on spectacular display in this recently discovered trove of his correspondence, Letters to His Neighbor. Already suffering from noise within his cork-lined walls, his poor soul was not ready for the fre...(展开全部)

Brilliantly translated by Lydia Davis, here are Proust’s tormented, touching, and often very funny letters to his noisy neighbor. Marcel Proust’s genius for illuminating pain is on spectacular display in this recently discovered trove of his correspondence, Letters to His Neighbor. Already suffering from noise within his cork-lined walls, his poor soul was not ready for the fre...(展开全部)

首次出版中译本。布面精装。八页黑白素描画。 ==== “一个人很有可能只会抒情而没有诗意——做一个诗人必须首先学会做一个人。旺盛的生命力，丰富的体验，即兴的冲动，一如托尔斯泰、莎士比亚或但丁所经历的努力和磨难，——这一切都是必不可少的。”（J.B. 叶芝致W.B. 叶芝） ==== 约翰•巴特勒•叶芝的书信集在他在世时就曾两次出版。第一次由诗人埃兹拉•庞德编辑并作序，出版后立刻引起轰动，T.S.艾略特撰文盛赞“他的书写体现了尊严、从容、含蓄……散发着言者的优雅和谦恭，以及深处的孤独”。 ==== J.B.叶芝先生乃温文儒雅之士，其内心拥有一个悠然的王国。悠然，对叶芝先生而言意味着即便不是为了出版也必须写得精致；他的写作体现了尊严、从容、含蓄……叶芝先生之论诗比我遇到的任何非诗人都更有见地，他的见解甚至超过了我遇到的大部分声名在外的诗人。 —— T.S...(展开全部)

首次出版中译本。布面精装。八页黑白素描画。 ==== “一个人很有可能只会抒情而没有诗意——做一个诗人必须首先学会做一个人。旺盛的生命力，丰富的体验，即兴的冲动，一如托尔斯泰、莎士比亚或但丁所经历的努力和磨难，——这一切都是必不可少的。”（J.B. 叶芝致W.B. 叶芝） ==== 约翰•巴特勒•叶芝的书信集在他在世时就曾两次出版。第一次由诗人埃兹拉•庞德编辑并作序，出版后立刻引起轰动，T.S.艾略特撰文盛赞“他的书写体现了尊严、从容、含蓄……散发着言者的优雅和谦恭，以及深处的孤独”。 ==== J.B.叶芝先生乃温文儒雅之士，其内心拥有一个悠然的王国。悠然，对叶芝先生而言意味着即便不是为了出版也必须写得精致；他的写作体现了尊严、从容、含蓄……叶芝先生之论诗比我遇到的任何非诗人都更有见地，他的见解甚至超过了我遇到的大部分声名在外的诗人。 —— T.S...(展开全部)

Gustav Mahler and Alma Maria Schindler were married in . . . 1902. The bride was twenty-one and a half years old, her groom a few months short of forty-two. Apart from their substantial age difference, it seems to have been the very disparity of their intellectual and social backgrounds that drew them together. Mahler was attracted to Alma by her beauty, her alert mind and emot...(展开全部)

古斯塔夫·马勒，奥地利作曲家，指挥家。犹太人，出生于波希米亚。作为作曲家，一生创作了10部交响曲，与理查·施特劳斯、西贝柳斯一道，唱出了19世纪浪漫主义最后的挽歌。他的音乐直接影响了勋伯格、贝尔格和韦伯恩，也包括肖斯塔科维奇和布里顿。作为指挥家，他的成就在生前就已得到广泛认可，不但演出水平优异，还具有创新性。作为历史上最伟大的歌剧指挥家之一，对瓦格纳和莫扎特歌剧的诠释尤为突出。 曹利群，20世纪50年代生人。种过田，做过工，大学毕业后当编辑。主编过《爱乐》杂志，写过一些和古典音乐有关的文章。出版的书主要有：《缪斯的琴弦》、《永远的珍藏》、《历史旁的花园》、《五音不全》、《肖邦不住17号》。翻译有《梅纽因访谈录》、《歌剧——一种新的聆听方法》（合译）。 庄加逊，2007年毕业于上海交通大学外国文艺理论专业，获硕士学位。近年来为《爱乐》、...(展开全部)

V. S. Naipaul is perhaps the most famous émigré writer since Vladimir Nabokov, and though he always spoke and wrote English, his self-imposed exile to England from his native Trinidad represented a cultural shift as profound as learning to think in another language. In this moving, novel-like correspondence, we witness the great writer’s early transformation from an expatriate ...(展开全部)

In 1950, after winning a scholarship from the government of Trinidad, V. S. Naipaul, aged seventeen, left home for the first time. Following a two-week journey by steamer, he arrived in Oxford, England, a world utterly removed from the one he had longed to escape and to which he would never really return. This extraordinary collection of letters gives us, as nothing published p...(展开全部)

Franz Kafka first met Felice Bauer in August 1912, at the home of his friend Max Brod. The twenty-five-year-old career woman from Berlin—energetic, down-to-earth, life-affirming—awakened in him a desire to marry. Kafka wrote to Felice almost daily, sometimes even twice a day. Because he was living in Prague and she in Berlin, their letters became their sole source of knowledge ...(展开全部)