His subject in these stories rarely changes: What is happiness and how to we attain it?   In this latest collection, two young lovers secretly love the child they will never be able to have; an esteemed physician and survivor of the Nazi concentration camps finds inner peace thanks to the love of a faithful dog; a man loves his wife through the memories of her first husband; and a mother rediscovers love for her child when someone tries to take that child from her. And finally, Séverine and Benjamin understand that they have lost the love of their lives when they see themselves through the eyes of a young terminally ill girl.   Love is not easy, and not always easy to find; at times, it is obliged to circumvent social norms, and thus transform them; it must be desired, sought, defended. We cannot know what life has in store for us, but we do know that whatever it is, it will only be meaningful if borne on the wings of love. Schmitt’s sublime stories remind us how true this is.

    This brilliantly ironic novel about literature and writing, in Vila-Matas’s trademark witty and erudite style, is told in the form of a lecture delivered by a novelist clearly a version of the author himself. The “lecturer” tells of his two-year stint living in Marguerite Duras’s garret during the seventies, spending time with writers, intellectuals, and eccentrics, and trying to make it as a creator of literature: “I went to Paris and was very poor and very unhappy.” Encountering such luminaries as Duras, Roland Barthes, Georges Perec, Sergio Pitol, Samuel Beckett, and Juan Marsé, our narrator embarks on a novel whose text will “kill” its readers and put him on a footing with his beloved Hemingway. (Never Any End to Paris takes its title from a refrain in A Moveable Feast.) What emerges is a fabulous portrait of intellectual life in Paris that, with humor and penetrating insight, investigates the part literature plays in our lives.

    K. Rowling dream up the terrifying basilisk, the seductive veela, or the vicious grindylow? And if she didn’t, who did?Millions of readers around the world have been enchanted by the magical world of wizardry, spells, and mythical beasts inhabited by Harry Potter and his friends. But what most readers don’t know is that there is a centuries-old trove of true history, folklore, and mythology behind Harry’s fantastic universe. Now, with The Sorcerer’s Companion, those without access to the Hogwarts Library can school themselves in the fascinating reality behind J. K. Rowling’s world of magic. Newly updated to include Harry Potter and the Order of the Phoenix, The Sorcerer’s Companion allows curious readers to look up anything magical from the Harry Potter books and discover a wealth of entertaining, unexpected information. Wands and wizards, boggarts and broomsticks, hippogriffs and herbology, all have astonishing histories rooted in legend, literature, or real-life events dating back hundreds or even thousands of years. Magic wands, like those sold in Rowling’s Diagon Alley, were once fashioned by Druid sorcerers out of their sacred yew trees. Love potions were first concocted in ancient Greece and Egypt. And books of spells and curses were highly popular during the Middle Ages. From Amulets to Zombies, you’ll also learn:•how to read tea leaves •where to find a basilisk today •how King Frederick II of Denmark financed a war with a unicorn horn •who the real Merlin was •how to safely harvest mandrake root •who wore the first invisibility cloak•how to get rid of a goblin •why owls were feared in the ancient world•what really lies beyond the Veil•the origins of our modern-day “bogeyman,” and more. A spellbinding tour of Harry’s captivating world, The Sorcerer’s Companion is a must for every Potter aficionado’s bookshelf.The Sorcerer's Companion has not been prepared, approved, or licensed by any person or entity that created, published, or produced the Harry Potter books or related properties.

    An absurdist short story collection about the woes of 21st-century living--from an author whose writing is "moving and necessary, not to mention frequently hilarious" (Miranda July)College students, recent graduates, and their parents work at Denny's, volunteer at a public library in suburban Florida, attend satanic ska/punk concerts, eat Chinese food with the homeless of New York City, and go to the same Japanese restaurant in Manhattan three times in two sleepless days, all while yearning constantly for love, a better kind of love, or something better than love, things which--much like the Loch Ness Monster--they know probably do not exist, but are rumored to exist and therefore "good enough."

    He is faced with difficulties when the circus he belongs to must travel from place to place. The trapeze artist is said to be dedicated solely to perfecting his art. The theatrical group and the manager do not object to this as they proceed to accommodate his every demand, which Kafka will note is never refused. As such, when the artist does travel, he is said to get his own accommodations: for in-town show,he is taken to performances in a race cars so as to not prolong his sufferings, or, if traveling by train, a whole compartment is reserved and he travels atop the luggage. Upon arrival, the artist takes place, hanging aloft the trapeze. Even during the performances of the theatrical group, he remained in public view but remained perfectly still.

    With her first taste of dirt, she learns the horrifying truth of her mother’s death. Disturbed by what she witnesses, the woman keeps her visions to herself. But when Earth-eater begins an unlikely relationship with a withdrawn police officer, word of her ability begins to spread, and soon desperate members of her community beg for her help, anxious to uncover the truth about their own loved ones.Surreal and haunting, spare yet complex, Earth-eater is a dark, emotionally resonant tale told from a feminist perspective that brilliantly explores the stories of those left behind—the women enduring the pain of uncertainty, whose lives have been shaped by violence and loss.

    a new terror to destroy.With billions of dollars at stake, every scientist in America is fighting to discover the next Prozac, the latest 'feel good' drug.Edward Armstrong believes he has hit the jackpot. He has isolated a stunningly effective anti-depressant from a bacterial mould first uncovered over two hundred years ago.But there is more to the drug than anyone could have imagined. When Edward turns violent and the corpses of mutilated animals appear near the laboratory, his girlfriend decides to investigate the truth about this new 'miracle' drug. Before it claims any more innocent lives...From the best-selling doctor whose high-voltage thrillers regularly quicken readers' pulses comes a harrowing tale of greed, abandoned ethics, and ambition run awry in the newest area of medical intervention: cosmetic psychopharmacology.Prozac-like drugs are being prescribed not only for their original purposes but increasingly to alter individual personalities to currently valued norms. With dead-on accuracy and the pre-science of tomorrow's headlines, Robin Cook explores the perilous intersection where fame and unfathomable lucre waylay and seduce the very best and brightest of those sworn to do no harm.When neuroscientist Edward Armstrong begins dating Kimberly Stewart, a descendant of a woman who was hanged as a witch at the time of the Salem witch trials, he takes advantage of the opportunity to delve into a pet theory: that the "devil" in Salem in 1692 had been a hallucinogenic drug inadvertently consumed with mould-tainted grain. In an attempt to prove his theory, Edward grows the mould he believes responsible from samples taken from the Stewart estate. In a brilliant designer-drug transformation, the poison becomes Ultra, the next generation of antidepressants with truly startling therapeutic capabilities.

    It is a city with cats sleeping under parked cars, two stone armadillos crawling up St. Patrick's Cathedral, and thousands of ants creeping on top of the Empire State Building. Attention to detail and observation of the unnoticed is the hallmark of Gay Talese's writing, and The Gay Talese Reader brings together the best of his essays and classic profiles. This collection opens with "New York Is a City of Things Unnoticed" and includes "Silent Season of a Hero" (about Joe DiMaggio), "Ali in Havana" and "Looking for Hemingway" as well as several other favorite pieces. It also features a previously unpublished article on the infamous case of Lorena and John Wayne Bobbitt, and concludes with the autobiographical pieces that are among Talese's finest writings. These works give insight into the progression of a writer at the pinnacle of his craft.Whether he is detailing the unseen and sometimes quirky world of New York City or profiling Blue Eyes in "Frank Sinatra Has a Cold" Talese captures his subjects be they famous, infamous, or merely unusual in his own inimitable, elegant fashion. The essays and profiles collected in The Gay Talese Reader are works of art, each carefully crafted to create a portrait of an unforgettable individual, place or moment.

    They all have one person in common, their beloved therapist Natasha who, though central to the lives of all of the women, is absent from their meeting. The women represent the many cultural and social groups that modern Chile is comprised of—from a housekeeper to celebrity television personality. They are of disparate ages and races and their lives have been touched by major political events from the dictatorship of Pinochet to the Israel-Palestine conflict. But despite their differences, as the women tell their stories, unlikely bonds are formed, and their lives are transformed in this intricately woven, beautifully rendered tale of the universal bonds between women from one of Latin America’s most celebrated novelists.

    Twelve brief accounts by Stefan Zweig (1881-1942) of decisive historical moments in which an individual's will to discover, create and transcend the limits imposed by the temporal and physical environment conflicts with the individual's inability to escape from the realities of their own nature.