On the heels of last year's mesmerising film adaptation of 'Brokeback Mountain' comes this beautiful, single volume collection of Annie Proulx's celebrated Wyoming stories. Inventive, compassionate and wildly funny, they explore the unbreakable bond between a people and their land in rich and robust language, with an eye for detail unparalleled in American fiction. In 'The Contest', the men of Elk Tooth, Wyoming, vow to put aside their razors for two seasons and wait to see who has the longest beard come the 4th of July. Deb Sipple, the moving protagonist of 'That Trickle Down Effect', finds that his opportunism - and his smoking habit - lead to massive destruction. And 'What Kind of Furniture Would Jesus Pick?' is the story of Gilbert Wolfscale, whose rabid devotion to his ranch drives away his wife and sons. Every story of this stunning collection is a tribute to Proulx's wit, her knowledge of the West, and her profound sympathy for characters who must use sheer will and courage to make it in such unforgiving territory.

    Confidential" and "White Jazz".

    Berlin's vision is sometimes remorseful, sometimes resigned, always courageous. The elusive nature of happiness is a compelling theme here: the survivors in these stories--many of them society's marginal or excluded people, fighting alcohol or drug addiction, bearing emotional scars--recognize it all too well.

    Pulitzer Prize-winning author Philip Caputo has written a timeless novel about the dangerous reverberating effects of long held family secrets.On a June morning in 1901, Cyrus Braithwaite orders his three sons to set sail from their Maine home aboard the family's forty-six-foot schooner and not return until September. Though confused and hurt by their father's cold-blooded actions, the three brothers soon rise to the occasion and embark on a breathtakingly perilous journey down the East Coast, headed for the Florida Keys.Almost one hundred years later, Cyrus's great-granddaughter Sybil sets out to uncover the events that transpired on the voyage. Her discoveries about the Braithwaite family and the America they lived in unfolds into a stunning tale of intrigue, murder, lies and deceit.

    Hired by the dissolute Smith family to murder the matriarch for insurance money, "Killer Joe" takes the daughter to bed as a retainer against his final payoff which sets in motion a bloody aftermath as the "hit man" meets his match.

    In this land of tobacco farming, bluegrass music, and devout fundamentalist Christianity, he is compelled to explain and justify the Catholic faith. His only defense, the Bible.Join Michael on an Amish-style farmstead as he learns to milk a cow, harness a horse, disk a field, and harvest hay with a team instead of a tractor. Will he discover the truth about the papacy, the Eucharist, and devotion to Mary in Sacred Scripture?

    For the past ten years he has been attempting to decode the numerical pattern beneath the ultimate system of ordered chaos-the stock market. As Max verges on a solution, chaos is swallowing the world around him. He is pursued by an aggressive Wall Street firm set on financial domination as well as by a Kabbalah sect intent on unlocking the secrets behind its ancient holy texts. Max races to crack the code, hoping to defy the madness that looms before him. In succeeding, he uncovers a secret everyone is willing to kill for.Also included with the screenplay is a full journal of how Darren Aronofsky made this award-winning film on a minuscule budget of $60,000, providing practical advice and inspiration to film students and offering film buffs rare insight into how an independent film is made.

    With one man dead and another on the run, this is a story about violence and how it destroys lives when the land is at stake. This lyrical first novel--long-awaited by the many admirers of James Galvin's The Meadow--is nothing less than the story of the disappearance of the American West.

    This volume provides the most comprehensive selection of Audubon's writings ever published, along with a portfolio of his drawings.

    Growing up in Cleveland in the 1960s and 1970s, Hannah Felber basks in her mother's devotion to her, and for Celia, her daughter is her redemption from an unhappy childhood. But when Hannah goes off to college to begin a life of her own, her mother inexplicably shuts her out, refusing to answer her letters or phone calls." "With her mother's abrupt abandonment, Hannah loses not only her closest confidante, but also her sense of identity - she searches through old photographs and listens to family legends for clues to who she is and where she comes from. Drawn deeper and deeper into her family's past, she begins to see that the fate of her grandparents and those left in the old country has a direct bearing on her own life.In chapters narrated by Hannah's maternal ancestors, we hear the voices and stories of those beyond, we hear the voices and stories of those beyond the grave.

    This novel chronicles the fate of a young man forced by tragedy to join the crew of the Perdido Star in 1805. A fascinating read.--Clive Clusser.

    

    Wells and Edith Wharton. This fully-annotated selection from James's eloquent correspondence allows the writer to reveal himself and the fascinating world in which he lived. The letters provide a rich and fascinating source for James' views on his own works, on the literary craft, on sex, politics and friendship. Together they constitute, in Philip Horne's own words, James' 'real and best biography'.

    Sunday, Monday and Always, initially published in 1952, was the author's own personal selection of her best work in the form. This new, expanded edition of Sunday, Monday, and Always includes four additional short pieces written after the original collection was printed. "What Are You Doing in my Dreams?" is an uncommonly moving autobiographical sketch that may serve as a pocket sketch for all of Powell's art. All the familiar elements are here - life and death; Ohio and New York; the awkward, hungry country girl and the city sophisticate; romantic yearning and realist self-deprecation - brought together one last time at the close of a half-century of meditation. The haunting vignette entitled "The Elopers," is based on the author's own experiences with her much loved, much troubled son. An early gem from The New Yorker, "Can't We Cry A Little?" has never before been reprinted, and "Dinner on the Rocks," a typically riotous send-up of Manhattan manners, was one of Powell's last stories.Sunday, Monday, and Always promises to introduce Powell's many admirers to a new facet of her extraordinary talent.

    All of Gould's foibles -- his lusts and obsessions, fears and anxieties -- are conveyed with such candor and lack of pretension that we can't help but be seduced into recognizing a little bit of Could in us or perhaps a lot of us in Gould. For Gould is indeed an Everyman for the end of the millennium, a good man trying to live an honest life without compromise and without losing his mind.

    Erickson's previous books have buried L.A.'s freeways in sand, set bonfires in Paris streets, and hitched along for the 1996 presidential campaign. In terms of madness, doom, and sheer human folly, what could possibly be left? Plenty, as it turns out. As The Sea Came in at Midnight opens, 17-year-old Kristin works in a Japanese "memory hotel," where despite her so-so looks she's in high demand. As an American, "Kristin represents the Western annihilation of ancient Japanese memory and therefore its master and possessor, a red bomb in one hand, a red bottle of soda pop in the other." After one of her best clients expires in the booth, she finally tells him her own story--which turns out to be quite a tale, involving escape from a millennial suicide cult and nude solitary confinement at the behest of a man known only as the Occupant. Add in the novel's other threads, which span 40 years and include a dream cartographer, a chaos-based calendar, time capsules, and both real and faked snuff films, and you have a heady mixture indeed. Fans of Erickson's unsettling, dreamlike style are legion, and they won't be disappointed in his latest take on the End Time, Blade Runner-style. But in a way, the millennium is beside the point; with a plot like this one, a mere flipping of digits seems so much apocalyptic icing on the cake. Combing a lyrical surrealism with a jittery, jump-cut technique, Erickson writes like the 21st-century heir of Pynchon and DeLillo. --Chloe Byrne