During the space of a day in Rome in 1933, a ten-lira coin passes through the hands of nine people—including an aging artist, a prostitute, and a would-be assassin of Mussolini. The coin becomes the symbol of contact between human beings, each lost in private passions and nearly impenetrable solitude.

"A Coin in Nine Hands has . . . passages that move close to poetry and a story that belongs in both literature and history."—Doris Grumbach, Los Angeles Times Book Review

"What lingers at the end of A Coin in Nine Hands is the shadowiness and puppetlike vagueness of the Dictator, and the compelling specificity of the so-called 'common people' revolving all around him."—Anne Tyler, The New Republic

"Within a few pages we have met half the major characters in this haunting, brilliantly constructed novel. . . . The studied perfection, the structural intricacy and brevity remind one of Camus. Yet by comparison, Yourcenar's prose is lavish, emotional and imagistic."—Cynthia King, Houston Post

"Transcends its specific time and place to become a portrait of vividly delineated characters caught in the vise of a tragically familiar political situation."—Publisher's Weekly

Best known as the author of Memoirs of Hadrian and The Abyss, Marguerite Yourcenar (1903-87) achieved countless literary honors and was the first woman ever elected to the Académie Française.

Fires consists of nine monologues and narratives based on classical Greek stories. Antigone, Clytemnestra, Phaedo, Sappho are all mythical figures whose stories are mingled with contemporary themes. Interspersed are highly personal narratives, reflecting on a time of profound inner crisis in the author's life.

"The unwritten novel among the fantasies and aphorisms of Fires is a classic tale."—Stephen Koch, New York Times Book Review

Dori Katz is a Jewish Holocaust survivor who thought that her lost memories of her childhood years in Belgium were irrecoverable. But after a chance viewing of a documentary about hidden children in German-occupied Belgium, she realized that she might, in fact, be able to unearth those years. Looking for Strangers is the deeply honest record of her attempt to do so, a detective story that unfolds through one of the most horrifying periods in history in an attempt to understand one’s place within it.

In alternating chapters, Katz journeys into multiple pasts, setting details from her mother’s stories that have captivated her throughout her life alongside an account of her own return to Belgium forty years later—against her mother’s urgings—in search of greater clarity. She reconnects her sharp but fragmented memories: being sent by her mother in 1943, at the age of three, to live with a Catholic family under a Christian identity; then being given up, inexplicably, to an orphanage in the years immediately following the war. Only after that, amid postwar confusion, was she able to reconnect with her mother. Following this trail through Belgium to her past places of hiding, Katz eventually finds herself in San Francisco, speaking with a man who claimed to have known her father in Auschwitz—and thus known his end. Weighing many other stories from the people she meets along her way—all of whom seem to hold something back—she attempts to stitch thread after thread into a unified truth, to understand the countless motivations and circumstances that determined her remarkable life.

A story at once about self-discovery, the transformation of memory, a fraught mother-daughter relationship, and the oppression of millions, Looking for Strangers is a book of both historical insight and imaginative grasp. It is a book in which the past, through its very mystery, becomes alive, immediate—of the most urgent importance.