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The Child is a story about growing up that is comparable in humor and humanity to Great Expectations, even as its unflinching exposure of violence and hypocrisy foreshadows the nightmare realsim of Louis-Ferdinand Céline. Jules Vallès, an anarchist and a bohemian, dedicated his book "to all those who were bored stiff at school or reduced to tears at home, who in childhood were bullied by their teachers or thrashed by their parents," and it tells the (autobiographical) tale of a young boy constantly scapegoated and abused, emotionally and physically, by his peasant mother and schoolteacher father, whose greatest concern is to improve their social status. But the young hero learns to stand up to his parents, even to love them, in time, and for all the intense pain the book registers it is anything but dreary. To the contrary, Vallès’s book is one of the funniest in French literature, a triumph of insubordinate comedy over the forces of order and the self-appointed defenders of decency.

In 1798, Irish patriots, committed to freeing their country from England, landed with a company of French troops in County Mayo, in westernmost Ireland. They were supposed to be an advance guard, followed by other French ships with the leader of the rebellion, Wolfe Tone. Briefly they triumphed, raising hopes among the impoverished local peasantry and gathering a group of supporters. But before long the insurgency collapsed in the face of a brutal English counterattack.Very few books succeed in registering the sudden terrible impact of historical events; Thomas Flanagan's is one. Subtly conceived, masterfully paced, with a wide and memorable cast of characters, The Year of the French brings to life peasants and landlords, Protestants and Catholics, along with old and abiding questions of secular and religious commitments, empire, occupation, and rebellion. It is quite simply a great historical novel.Named the most distinguished work of fiction in 1979 by the National Book Critics' Circle.

Starting in 1970, Jean Genet—petty thief, prostitute, modernist master—spent two years in the Palestinian refugee camps in Jordan. Always an outcast himself, Genet was drawn to this displaced people, an attraction that was to prove as complicated for him as it was enduring. Prisoner of Love, written some ten years later, when many of the men Genet had known had been killed, and he himself was dying, is a beautifully observed description of that time and those men as well as a reaffirmation of the author's commitment not only to the Palestinian revolution but to rebellion itself. For Genet's most overtly political book is also his most personal—the last step in the unrepentantly sacrilegious pilgrimage first recorded in The Thief's Journal, and a searching meditation, packed with visions, ruses, and contradictions, on such life-and-death issues as the politics of the image and the seductive and treacherous character of identity. Genet's final masterpiece is a lyrical and philosophical voyage to the bloody intersection of oppression, terror, and desire at the heart of the contemporary world.

First published in 1959, Iona and Peter Opie's The Lore and Language of Schoolchildren is a pathbreaking work of scholarship that is also a splendid and enduring work of literature. Going outside the nursery, with its assortment of parent-approved entertainments, to observe and investigate the day-to-day creative intelligence and activities of children, the Opies bring to life the rites and rhymes, jokes and jeers, laws, games, and secret spells of what has been called "the greatest of savage tribes, and the only one which shows no signs of dying out."

Dorothy Sayers called William Roughead "the best showman who ever stood before the door of the chamber of horrors," and his true crime stories, written in the early 1900s, are among the glories of the genre. Displaying a meticulous command of evidence and unerring dramatic flair, Roughead brings to life some of the most notorious crimes and extraordinary trials of eighteenth- and nineteenth-century England and Scotland. Utterly engrossing, these accounts of pre-meditated mayhem and miscarried justice also cast a powerful light on the evil that human beings, and human institutions, find both tempting to contemplate and all too easy to do.

Great Granny Webster is Caroline Blackwood''s masterpiece. Heiress to the Guinness fortune, Blackwood was celebrated as a great beauty and dazzling raconteur long before she made her name as a strikingly original writer. This macabre, mordantly funny, partly auto-biographical novel reveals the gothic craziness behind the scenes in the great houses of the aristocracy, as witnessed through the unsparing eyes of an orphaned teenage girl. Great Granny Webster herself is a fabulous monster, the chilliest of matriarchs, presiding with steely self-regard over a landscape of ruined lives.

Contempt is a brilliant and unsettling work by one of the revolutionary masters of modern European literature. All the qualities for which Alberto Moravia is justly famous—his cool clarity of expression, his exacting attention to psychological complexity and social pretension, his still-striking openness about sex—are evident in this story of a failing marriage. Contempt (which was to inspire Jean-Luc Godard's no-less-celebrated film) is an unflinching examination of desperation and self-deception in the emotional vacuum of modern consumer society.

The novels that the great Italian writer Alberto Moravia wrote in the years following the World War II represent an extraordinary survey of the range of human behavior in a fragmented modern society. Boredom, the story of a failed artist and pampered son of a rich family who becomes dangerously attached to a young model, examines the complex relations between money, sex, and imperiled masculinity. This powerful and disturbing study in the pathology of modern life is one of the masterworks of a writer whom as Anthony Burgess once remarked, was "always trying to get to the bottom of the human imbroglio."

Norman Moonbloom is a loser, a drop-out who can't even make it as a deadbeat. His brother, a slumlord, hires him to collect rent in the buildings he owns in Manhattan. Making his rounds from apartment to apartment, Moonbloom confronts a wildly varied assortment of brilliantly described urban characters, among them a gay jazz musician with a sideline as a gigolo, a Holocaust survivor, and a brilliant young black writer modeled on James Baldwin. Moonbloom hears their cries of outrage and abuse; he learns about their secret sorrows and desires. And as he grows familiar with their stories, he finds that he is drawn, in spite of his best judgment, into a desperate attempt to improve their lives.Edward Lewis Wallant's astonishing comic tour de force is a neglected masterpiece of 1960s America.

A NEW YORK REVIEW BOOKS ORIGINALOne of the delights of Russian literature, a tour de force that has been compared to the best of Nabokov and Bulgakov, Yuri Olesha's novella Envy brings together cutting social satire, slapstick humor, and a wild visionary streak. Andrei is a model Soviet citizen, a swaggeringly self-satisfied mogul of the food industry who intends to revolutionize modern life with mass-produced sausage. Nikolai is a loser. Finding him drunk in the gutter, Andrei gives him a bed for the night and a job as a gofer. Nikolai takes what he can, but that doesn't mean he's grateful. Griping, sulking, grovelingly abject, he despises everything Andrei believes in, even if he envies him his every breath.Producer and sponger, insider and outcast, master and man fight back and forth in the pages of Olesha's anarchic comedy. It is a contest of wills in which nothing is sure except the incorrigible human heart.Marian Schwartz's new English translation of Envy brilliantly captures the energy of Olesha's masterpiece.

Like Wescott's extraordinary novella The Pilgrim Hawk (which Susan Sontag described in The New Yorker as belonging "among the treasures of 20th-century American literature"), Apartment in Athens concerns an unusual triangular relationship. In this story about a Greek couple in Nazi-occupied Athens who must share their living quarters with a German officer, Wescott stages an intense and unsettling drama of accommodation and rejection, resistance and compulsion-an account of political oppression and spiritual struggle that is also a parable about the costs of closeted identity.

Published in 1967, as the early triumphs of the Civil Rights movement yielded to increasing frustration and violence, The Crisis of the Negro Intellectual electrified a generation of activists and intellectuals. The product of a lifetime of struggle and reflection, Cruse's book is a singular amalgam of cultural history, passionate disputation, and deeply considered analysis of the relationship between American blacks and American society. Reviewing black intellectual life from the Harlem Renaissance through the 1960s, Cruse discusses the legacy (and offers memorably acid-edged portraits) of figures such as Paul Robeson, Lorraine Hansberry, and James Baldwin, arguing that their work was marked by a failure to understand the specifically American character of racism in the United States. This supplies the background to Cruse's controversial critique of both integrationism and black nationalism and to his claim that black Americans will only assume a just place within American life when they develop their own distinctive centers of cultural and economic influence. For Cruse's most important accomplishment may well be his rejection of the clichés of the melting pot in favor of a vision of Americanness as an arena of necessary and vital contention, an open and ongoing struggle.