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In a beleaguered city where rats and roving gangs terrorize the streets, where government has broken down and meaningless violence holds sway, a woman — middle-aged and middle-class — is brought a twelve-year-old girl and told that it is her responsibility to raise the child. This book, which the author has called “an attempt at autobiography,” is that woman’s journal — a glimpse of a future only slightly more horrendous than our present, and of the forces that alone can save us from total destruction.
In the north of England, a group of young Indian immigrants struggle to begin something new–to support their families; to build their futures; to show their worth; to escape their pasts. An epic for our times, The Year of the Runaways is a stunning work of fiction that explores what it means and what it costs to make a new life, the capaciousness of the human spirit, and the power of humanity in the face of unspeakable suffering.
The powerful evocation of a childhood in Harlem that helped to galvanize the early days of the civil rights movement examines the deep consequences of racial injustice to both the individual and the body politic. Reissue. 20,000 first printing.
Decimated by drought, Nevada and Arizona skirmish over dwindling shares of the Colorado River, while California watches, waiting. Into the fray steps Las Vegas water knife Angel Velasquez, who “cuts” water for the Southern Nevada Water Authority and its boss, Catherine Case, ensuring that her lush, luxurious arcology developments can bloom in the desert and that anyone who challenges her is left in the gutted-suburban dust. He becomes a pawn in a game far bigger, more corrupt, and dirtier than he could have imagined.
About the Author
Susan Hill has been a professional writer for over fifty years. Her books have won the Whitbread, the John Llewellyn Prize, and the W. Somerset Maugham Award, and have been shortlisted for the Booker Prize. Her novels include Strange Meeting, Im the King of the Castle and A Kind Man, and she has also published collections of short stories and two autobiographies. Her ghost story, The Woman in Black, has been running in London’s West End since 1988. Susan is married with two adult daughters and lives in North Norfolk.
“A rattling good yarn, the sort that chills the mind as well as the spine.” —The Guardian”Excellent. . . . magnificently eerie. . . . compulsive reading.” –Evening Standard”The most brilliantly effective spine chillder you will ever encounter.” –The Daily Telegraph”[A] highly efficient chiller. . . . Nerve shredding.” –The Daily Express
Like Andre Breton’s dizzying poem, “Ma Femme a la chevelure de feu de bois” (“my woman with her belly like the unfolding fan of days/ . . . My woman with her swan’s back buttocks”), the narrator of Winterson’s ( Sexing the Cherry , LJ 2/15/90) new novel relentlessly celebrates the beauty of a beloved woman’s body–but the trick here is that we do not know whether the narrator is a man or a woman. The story is minimal and not altogether original: a corrusive sensualist experiences many women but finally becomes obsessed with one, stealing her from her husband, only to discover that she has been guarding a terrible secret: she is threatened by a terminal illness. The fascination is the lush, plush language and the way two aspects of the physical–passion and bodily decay–are delicately interwoven. Not to everyone’s taste, but serious readers and sensualists will enjoy. Previewed in Prepub Alert, LJ 10/1/92.– Barbara Hoffert, “Library Journal”
This fourth effort from British writer Winterson ( Sexing the Cherry ) is a high-concept erotic novelette, a Vox for the postmarital crowd. The narrator, a lifelong philanderer (“I used to think marriage was a plate-glass window just begging for a brick”), has fallen in love with Louise, a pre-Raphaelite beauty. Louise is unhappily married to a workaholic cancer researcher, so the narrator leads her into a sexually combative affair. This scenario seems obvious enough, but Winterson never reveals whether the narrator is male or female. Rather, she teases readers out of their expectations about women and men and romance: Louise calls the narrator “the most beautiful creature male or female that I have ever seen,” and the narrator observes, “I thought difference was rated to be the largest part of sexual attraction but there are so many things about us that are the same.” When the narrator breaks off the affair after learning that Louise has cancer–only her husband can cure her–the work turns into a eulogy for lost love. Winterson manipulates gender expertly here, but her real achievement is her manipulation of genre : the capacious first-person narration, now addressed to the reader, now to the lover, enfolds aphorisms, meditations on extracts from an anatomy textbook, and essayistic riffs on science, virtual reality and the art of fiction (“I don’t want to reproduce, I want to create something entirely new”). “It’s as if Louise never existed,” the narrator observes, “like a character in a book. Did I invent her?” One wonders, as Winterson intends, and then wonders some more. For Louise–and the narrator’s love for her–never seems quite real; in this cold-hearted novel love itself, however eloquently expressed, is finally nothing more than a product of the imagination. (Feb.)
About the Author
Amitav Ghosh was born in Calcutta and spent his childhood in Bangladesh, Sri Lanka, and northern India. He studied in Delhi and Egypt and at Oxford and taught at various Indian and American universities. The author of five non-fiction books and eight acclaimed novels, Ghosh has also written for Granta, The New Yorker, The New York Times, and The Observer. He lives in New York City with his wife and two children. His titles Sea of Poppies, River of Smoke, and Flood of Fire received critical acclaim.
In Time’s Arrow the doctor Tod T. Friendly dies and then feels markedly better, breaks up with his lovers as a prelude to seducing them, and mangles his patients before he sends them home. And all the while Tod’s life races backward toward the one appalling moment in modern history when such reversals make sense.
“The narrative moves with irresistible momentum…. [Amis is] a daring, exacting writer willing to defy the odds in pursuit of his art.”–“Newsday
About the Author
Martin Amis is the best-selling author of several books, including London Fields, Money, The Information, and, most recently, Experience. He lives in London.
Set in 1861, this startling, sensual, hypnotically compelling novel tells a story of adventure, sexual enthrallment, and a love so powerful that it unhinges a mans life.
About the Author
Alessandro Baricco was born in Turin in 1958.He is the author of two previous novels, Castelli di rabbia, which won the Prix Medicis in France and the Selezione Campiello prize in Italy, and Ocean-Sea, which won the Viareggio and Palazzo del Bosco prizes.He has also written essays in the field of musicology.Silk became an immediate bestseller in Italy and has been translated into twenty-seven languages.”
The annotated text of this modern classic. It assiduously illuminates the extravagant wordplay and the frequent literary allusions, parodies, and cross-references. Edited with a preface, introduction and notes by Alfred Appel, Jr.
About the Author
Vladimir Vladimirovich Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of antisemitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins. The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. As a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next eighteen years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925 he married Vera Slonim, with whom he had one child, a son, Dmitri. Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. In his afterword to Lolita he claimed: “My private tragedy, which cannot, and indeed should not, be anybody’s concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses–the baffling mirror, the black velvet backdrop, the implied associations and traditions–which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way.” [p. 317] Yet Nabokov’s American period saw the creation of what are arguably his greatest works, Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977.