Science fiction, detective story and post-modern manifesto all rolled into one rip-roaring novel, Hard-Boiled Wonderland and the End of the World is the tour de force that expanded Haruki Murakami's international following. Tracking one man's descent into the Kafkaesque underworld of contemporary Tokyo, Murakami unites East and West, tragedy and farce, compassion and detachment, slang and philosophy.'

    Set in the hills and hollows of western North Carolina in the years around World War II, it tells of ten-year-old Jess and his family -- father, mother, grandmother, foster brother, and an odd assortment of other relatives -- who usher Jess into the adult world, with all its attendant joys and sorrows, knowledge and mystery.Jess's father is feisty, restless, and fun-loving. His mother is straitlaced and serious but accepts with grace and good humor the antics of the men of the family, a trait she learned from her own mother. Johnson Gibbs is the orphaned teenager who comes to live with them on their mountain farm. Life on the laurel-covered mountain is isolated and at times difficult, but for Jess it is made rich and remarkable through his relationship with his father and, especially, Johnson Gibbs.Visiting the farm from time to time is a gallery of eccentric relatives who are surely among the most memorable creations in recent fiction. Uncle Luden is a womanizer who left the mountains years ago for a job in California that "paid actual cash money." Uncle Gurton has a spooky way of appearing and disappearing without ever seeming to enter or exit, but it is his flowing beard, which he has apparently never trimmed and which he keeps tucked inside his overalls, that is of most fascination to Jess.Uncle Zeno is a storyteller. With the words "That puts me in mind of..." everyone around knows that he is about to launch into another of his endless tales. Uncle Runkin, who always brings his handmade coffin to sleep in whenever he visits, spends his time carving intricate designs into the coffin and trying to find just the right epitaph for his tombstone. Aunt Samantha Barefoot stops by for a brief spell, too. A country singer and cousin to Jess's grandmother, she is a woman of uncensored speech (Jess learns a lot from her) and honest emotions. Chappell tells the story of all of these characters in a series of chapters that range from fantasy and near farce to pathos. As notable for its lyrical descriptions of the rural settings as for its finely honed vernacular dialogue, I Am One of You Forever shows us a world full of wit and wisdom and the sadness at the heart of things. As one would expect from a poet like Fred Chappell, every line offers its own pleasures and satisfactions.

    When Fermina eventually chooses to marry a wealthy, well-born doctor, Florentino is heartbroken, but he is a romantic. As he rises in his business career he whiles away the years in 622 affairs—yet he reserves his heart for Fermina. Her husband dies at last, and Florentino purposefully attends the funeral. Fifty years, nine months, and four days after he first declared his love for Fermina, he will do so again.

    Steve Erickson's Days Between Stations is the stunning, now classic dream-spec of our precarious age -- by turns beautiful and obsessed, haunted and hallucinated, in which lives erotically collide, the past ambushes the future, and forbidden secrets intercut with each other like the frames of a film.

    Angela Carter takes real people and literary legends - most often women - who have been mythologized or marginalized and recasts them in a new light. In a style that is sensual, cerebral, almost hypnotic, "The Fall River Axe-Murders" portrays the last hours before Lizzie Borden's infamous act: the sweltering heat, the weight of flannel and corsets, the clanging of the factory bells, the food reheated and reserved despite the lack of adequate refrigeration, the house "full of locked doors that open only into other rooms with other locked doors." In "Our Lady of the Massacre" the no-nonsense voice of an eighteenth-century prostitute/runaway slave questions who is civilized - the Indians or the white men? "Black Venus" gives voice to Charles Baudelaire's Creole mistress, Jeanne Duval: "you could say, not so much that Jeanne did not understand the lapidary, troubled serenity of her lover's poetry but, that it was a perpetual affront to her. He recited it to her by the hour and she ached, raged and chafed under it because his eloquence denied her language." "The Kiss" takes the traditional story of Tamburlaine's wife and gives it a new and refreshing ending. Sometimes disquieting, sometimes funny, always thought-provoking, Angela Carter's stories offer a feminist revision of images that lie deep in the public psyche.

    Smiles on Washington Square is a charming and complex novel. With the masterful ease of a tightrope walker, Federman plays with our sense of time and space as he creates, with extraordinary compassion, a tale that makes us see our own vulnerability and worthiness. Stylistically, his links to Beckett are evident in the stripped down prose, the remarkable symbolism and word games, and in his focus on the downtrodden and inarticulate cast-aways of an industrialized world. Ultimately, Smiles on Washington Square is a book that teaches us there is no easy story, no safe entrance, no line of action not fraught with obstacles and humiliation; but finally, in the face of the inevitable disappointment of the human condition, Federman shows us how sweet possibility is.