Flaubert avait beau affirmer qu'il désirait faire du style le coeur d'un "livre sur rien", son premier roman n'en est pas moins un récit, un roman de la "fatalité", comme le souligne innocemment Charles Bovary, sans même savoir qu'il s'agit d'une fatalité d'ordre narratologique qui imbrique imperceptiblement les éléments du texte pour rendre l'issue inévitable. Tableau des Moeurs de province, Madame Bovary dépeint avec tant d'efficacité la dynamique de la frustration que le mélange d'ennui profond, d'apathie et d'exaltation romanesque qui caractérise son héroïne a donné naissance au terme de bovarysme. De Tostes à Yonville-l'Abbaye, Emma Bovary traîne sa morne existence jalonnée d'adultères. Certes, ses échappées à bord de l'Hirondelle, l'express qui relie Yonville à Rouen, pimentent sa vie. Mais elle est conduite par Hivert, vouée au retour ironique et incontournable. Quelles que soient les tentatives d'évasion, le bovarysme triomphe. Dans le portrait de cette petite bourgeoise normande, Flaubert a poussé l'écriture objective, neutralité indispensable afin de se fondre dans les personnages, au point de rendre si vivantes les aspirations d'Emma que le roman lui valut un procès. —Sana Tang-Léopold Wauters

'Surround yourself with human beings, my dear James. They are easier to fight for than principles'

In Casino Royale, the first of Fleming's 007 adventures, a game of cards is James Bond's only chance to bring down the desperate SMERSH agent Le Chiffre. But Bond soon discovers that there is far more at stake than money.

One of the most famous accounts of living under the Nazi regime of World War II comes from the diary of a thirteen-year-old Jewish girl, Anne Frank. Today, The Diary of a Young Girl has sold over 25 million copies world-wide.

It is one of the most celebrated and enduring books of the last century and it remains a deeply admired testament to the indestructible nature of human spirit.

Anne Frank and her family fled the horrors of Nazi occupation by hiding in the back of a warehouse in Amsterdam for two years with another family and a German dentist. Aged thirteen when she went into the secret annexe, Anne kept a diary. She movingly revealed how the eight people living under these extraordinary conditions coped with hunger, the daily threat of discovery and death and being cut off from the outside world, as well as petty misunderstandings and the unbearable strain of living like prisoners.

The Diary of a Yong Girl is a timeless true story to be rediscovered by each new generation. For young readers and adults it continues to bring to life Anne's extraordinary courage and struggle throughout her ordeal.

'One of the greatest books of the century' Guardian

'A modern classic' The Times

'Rings down the decades as the most moving testament to the persecution of innocence' Daily Mail

'Astonishing and excruciating. Its gnaws at us still' New York Times Book Review

Anne Frank was born on 12 June 1929. She died in Bergen-Belsen, three months short of her sixteenth birthday.

Yoroido : un modeste village de pêcheurs dans le Japon des années trente. La petite Chiyo-chan y coule une enfance pauvre mais heureuse entre ses parents et sa grande soeur, Satsu. Mais un cancer ronge en silence les os de sa mère, sur le point de mourir. Le père est si vieux et déjà si perdu qu'il accepte la proposition de M. Tanaka. Les deux jeunes filles partent bientôt pour Kyoto, parmi d'autres enfants vendus. Chiyo-chan est si belle avec ses yeux d'eau "comme si quelqu'un y avait percé un trou et que l'encre avait coulé" qu'on l'emmène dans une école de geishas. Elle deviendra Sayuri, l'une des geishas ou courtisanes les plus appréciées de la ville, excellant dans l'art du chant, de la danse et de l'amour, maîtrisant parfaitement la science de la toilette et du thé.

Arthur Golden signe un étonnant roman aux allures de récit d'aventures et d'initiation, riche en métaphores poétiques. Rédigé sous la forme de mémoires, il prend valeur de document en nous plongeant dans les rituels, la pensée et l'imaginaire de ce pays du Soleil levant. —Laure Anciel

According to Arthur Golden's absorbing first novel, the word "geisha" does not mean "prostitute," as Westerners ignorantly assume—it means "artisan" or "artist." To capture the geisha experience in the art of fiction, Golden trained as long and hard as any geisha who must master the arts of music, dance, clever conversation, crafty battle with rival beauties and cunning seduction of wealthy patrons. After earning degrees in Japanese art and history from Harvard and Columbia—and an M.A. in English—he met a man in Tokyo who was the illegitimate offspring of a renowned businessman and a geisha. This meeting inspired Golden to spend 10 years researching every detail of geisha culture, chiefly relying on the geisha Mineko Iwasaki, who spent years charming the very rich and famous.

The result is a novel with the broad social canvas (and love of coincidence) of Charles Dickens and Jane Austen's intense attention to the nuances of erotic maneuvering. Readers experience the entire life of a geisha, from her origins as an orphaned fishing-village girl in 1929 to her triumphant auction of her mizuage (virginity) for a record price as a teenager to her reminiscent old age as the distinguished mistress of the powerful patron of her dreams. We discover that a geisha is more analogous to a Western "trophy wife" than to a prostitute—and, as in Austen, flat-out prostitution and early death is a woman's alternative to the repressive, arcane system of courtship. In simple, elegant prose, Golden puts us right in the tearoom with the geisha; we are there as she gracefully fights for her life in a social situation where careers are made or destroyed by a witticism, a too-revealing (or not revealing enough) glimpse of flesh under the kimono, or a vicious rumour spread by a rival "as cruel as a spider."

Golden's web is finely woven, but his book has a serious flaw: the geisha's true romance rings hollow—the love of her life is a symbol, not a character. Her villainous geisha nemesis is sharply drawn, but she would be more so if we got a deeper peek into the cause of her motiveless malignity—the plight all geisha share. Still, Golden has won the triple crown of fiction: he has created a plausible female protagonist in a vivid, now-vanished world and he gloriously captures Japanese culture by expressing his thoughts in authentic Eastern metaphors.