Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, film-maker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he's convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius.All that's left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to recreate the lost masterwork while attempting to keep pace with an ever-fracturing culture of "likes" and arbitrary denunciations that are simultaneously his bete noire and his raison d'etre.A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.

    Set in 90s Manhattan, Victor Ward, a model with perfect abs and all the right friends, is seen and photographed everywhere, even in places he hasn't been and with people he doesn't know. He's living with one beautiful model and having an affair with another onthe eve of opening the trendiest nightclub in New York City history.And now it's time to move to the next stage. But the future he gets is not the one he had in mind. With the same deft satire and savage wit he has brought to his other fiction, Bret Ellis gets beyond the facade and introduces us, unsparingly, to what we always feared was behind it. Glamorama shows us a shadowy looking-glass reality, the juncture where fame and fashion and terror and mayhem meet and then begin to resemble the familiar surface of our lives."

    The victim makes headlines as the Black Dahlia—and so begins the greatest manhunt in California history. Caught up in the investigation are Bucky Bleichert and Lee Blanchard: Warrants Squad cops, friends, and rivals in love with the same woman. But both are obsessed with the Dahlia—driven by dark needs to know everything about her past, to capture her killer, to possess the woman even in death. Their quest will take them on a hellish journey through the underbelly of postwar Hollywood, to the core of the dead girl's twisted life, past the extremes of their own psyches—into a region of total madness.

    They are marked by coincidence and surprise endings as well as the compassion and high humour that have made O Henry's stories popular for the last century.

    I am Daniel Handler, the author of this book. Did you know that authors often write the summaries that appear on their book's dust jacket? You might want to think about that the next time you read something like, "A dazzling page-turner, this novel shows an internationally acclaimed storyteller at the height of his astonishing powers.""Adverbs" is a novel about love -- a bunch of different people, in and out of different kinds of love. At the start of the novel, Andrea is in love with David -- or maybe it's Joe -- who instead falls in love with Peter in a taxi. At the end of the novel, it's Joe who's in the taxi, falling in love with Andrea, although it might not be Andrea, or in any case it might not be the same Andrea, as Andrea is a very common name. So is Allison, who is married to Adrian in the middle of the novel, although in the middle of the ocean she considers a fling with Keith and also with Steve, whom she meets in an automobile, unless it's not the same Allison who meets the Snow Queen in a casino, or the same Steve who meets Eddie in the middle of the forest. . . .It might sound confusing, but that's love, and as the author -- me -- says, "It is not the nouns. The miracle is the adverbs, the way things are done." This novel is about people trying to find love in the ways it is done before the volcano erupts and the miracle ends. Yes, there's a volcano in the novel. In my opinion a volcano automatically makes a story more interesting.

    Was it an accident, a murder, a suicide? The circumstances of her death were never resolved, but O’Hara seized upon the tragedy to imagine the woman’s down-and-out life in New York City in the early 1930s. “O’Hara understood better than any other American writer how class can both reveal and shape character,” Fran Lebowitz writes in her Introduction. With brash honesty and a flair for the unconventional, BUtterfield 8 lays bare the unspoken and often shocking truths that lurked beneath the surface of a society still reeling from the effects of the Great Depression. The result is a masterpiece of American fiction.

    At the center of this maelstrom of pyschobabble and unrequited lust sits Tom, program coordinator for the Young Women of Strength, who has been known to sob uncontrollably at meetings. When Tom tries to initiate a food fight, a rival psychologist bear hugs him into submission, resulting in an out-of-body experience that leaves our Tom hovering over his colleagues. In the hands of Donald Antrim, this unique perspective becomes an exuberantly funny riff on our culture that does nothing less than expose the core of emotions underlying the most basic of human needs.

    Morbidly amused by the decadent decay of his surroundings, he watches the patrons fall into their nightly oblivion, making notes for his novel. In the hope of uncovering their secrets and motives, he establishes tentative friendships with the cast of variously pathological regulars. But as his tenure at the bar continues, he begins to serve himself more often than his customers, and the moments he lives outside the bar become more and more painful: he loses his wife, his way, himself. Trapped by his habits and his loneliness, he realizes he will not survive if he doesn't break free. And so he hatches a terrible, but necessary plan of escape and his only chance for redemption. Step into Ablutions and step behind the bar, below rock bottom, and beyond the everyday take on storytelling for a brilliant, new twist on the classic tale of addiction and its consequences.

    I accepted, then and there, my place in the world. I was a fighter of windmills. I was a chaser of whales. I was Not Sidney Poitier.Not Sidney Poitier is an amiable young man in an absurd country. The sudden death of his mother orphans him at age eleven, leaving him with an unfortunate name, an uncanny resemblance to the famous actor, and, perhaps more fortunate, a staggering number of shares in the Turner Broadcasting Corporation.Percival Everett’s hilarious new novel follows Not Sidney’s tumultuous life, as the social hierarchy scrambles to balance his skin color with his fabulous wealth. Maturing under the less-than watchful eye of his adopted foster father, Ted Turner, Not gets arrested in rural Georgia for driving while black, sparks a dinnertable explosion at the home of his manipulative girlfriend, and sleuths a murder case in Smut Eye, Alabama, all while navigating the recurrent communication problem: “What’s your name?” a kid would ask. “Not Sidney,” I would say. “Okay, then what is it?”

    Brik enlists his friend Rora -- a war photographer from Sarajevo -- to join him in retracing Averbuch's path.Through a history of pogroms and poverty, and a prism of a present-day landscape of cheap mafiosi and even cheaper prostitutes, the stories of Averbuch and Brik become inextricably intertwined, creating a truly original, provocative, and entertaining novel that confirms Aleksandar Hemon as one of the most dynamic and essential literary voices of our time.