Among them is Zoyd Wheeler who is preparing for his annual act of televised insanity (for which he receives a government stipend) when an unwelcome face appears from out of his past.An old nemesis, federal prosecutor Brock Vond, storms into Vineland at the head of a heavily armed strike force. Soon Zoyd and his daughter, Prairie, go into hiding while Vond begins a relationship with Zoyd's ex-wife and uses Prairie as a pawn against the mother she never knew she had.Part daytime drama, part political thriller, Vineland is a strange evocation of a twentieth-century America headed for a less than harmonic future.

    Grace Strasser-Mendana controls much of the country's wealth and knows virtually all of its secrets; Charlotte Douglas knows far too little. "Immaculate of history, innocent of politics," she has come to Boca Grande vaguely and vainly hoping to be reunited with her fugitive daughter. As imagined by Didion, her fate is at once utterly particular and fearfully emblematic of an age of conscienceless authority and unfathomable violence.

    It is the story of the young Hollywood mogul Monroe Stahr, a character inspired by the life of boy-genius Irving Thalberg, and is an exposé of the studio system in its heyday.

    At the center of this outlandishly funny, fiercely intelligent novel is the bewitching heroine, Lenore Stonecipher Beadsman. The year is 1990 and the place is a slightly altered Cleveland, Ohio. Lenore’s great-grandmother has disappeared with twenty-five other inmates of the Shaker Heights Nursing Home. Her beau, and boss, Rick Vigorous, is insanely jealous, and her cockatiel, Vlad the Impaler, has suddenly started spouting a mixture of psycho-babble, Auden, and the King James Bible. Ingenious and entertaining, this debut from one of the most innovative writers of his generation brilliantly explores the paradoxes of language, storytelling, and reality.

    Hutchens

    Written in what DeLillo calls "super-omniscience" the sentences sweep from young Cotter Martin as he jumps the gate to the press box, soars over the radio waves, runs out to the diamond, slides in on a fast ball, pops into the stands where J. Edgar Hoover is sitting with a drunken Jackie Gleason and a splenetic Frank Sinatra, and learns of the Soviet Union's second detonation of a nuclear bomb. It's an absolutely thrilling literary moment. When Bobby Thomson hits Branca's pitch into the outstretched hand of Cotter—the "shot heard around the world"—and Jackie Gleason pukes on Sinatra's shoes, the events of the next few decades are set in motion, all threaded together by the baseball as it passes from hand to hand."It's all falling indelibly into the past," writes DeLillo, a past that he carefully recalls and reconstructs with acute grace. Jump from Giants Stadium to the Nevada desert in 1992, where Nick Shay, who now owns the baseball, reunites with the artist Kara Sax. They had been brief and unlikely lovers 40 years before, and it is largely through the events, spinoffs, and coincidental encounters of their pasts that DeLillo filters the Cold War experience. He believes that "global events may alter how we live in the smallest ways," and as the book steps back in time to 1951, over the following 800-odd pages, we see just how those events alter lives. This reverse narrative allows the author to strip away the detritus of history and pop culture until we get to the story's pure elements: the bomb, the baseball, and the Bronx. In an epilogue as breathless and stunning as the prologue, DeLillo fast-forwards to a near future in which ruthless capitalism, the Internet, and a new, hushed faith have replaced the Cold War's blend of dread and euphoria.Through fragments and interlaced stories—including those of highway killers, artists, celebrities, conspiracists, gangsters, nuns, and sundry others—DeLillo creates a fragile web of connected experience, a communal Zeitgeist that encompasses the messy whole of five decades of American life, wonderfully distilled.

    He stays at the edge of an outcast community inhabited by eccentrics, criminals and the poverty-stricken. Rising above the physical and human squalor around him, his detachment and wry humour enable him to survive dereliction and destitution with dignity.

      The summer Berie was fifteen, she and her best friend Sils had jobs at Storyland in upstate New York where Berie sold tickets to see the beautiful Sils portray Cinderella in a strapless evening gown. They spent their breaks smoking, joking, and gossiping. After work they followed their own reckless rules, teasing the fun out of small town life, sleeping in the family station wagon, and drinking borrowed liquor from old mayonnaise jars. But no matter how wild, they always managed to escape any real danger—until the adoring Berie sees that Sils really does need her help—and then everything changes.

    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.

    I. Lonoff, he soon finds himself enmeshed in the great Jewish writer's domestic life, with all its complexity, artifice and drive for artistic truth. As Nathan sits in breathlessly awkward conversation with his idol, a glimpse of a dark-haired beauty through a closing doorway leaves him reeling. He soon learns that the entrancing vision is Amy Bellette, but her position in the Lonoff household - student? mistress? - remains tantalisingly unclear. Over a disturbed and confusing dinner, Nathan gleans snippets of Amy's haunting Jewish background, and begins to draw his own fantastical conclusions...

    Caught in the upheaval is Jim Nolan, a once aimless man who finds himself in the course of the strike.

    His reacquaintance with Venice, a city he loved, provided the inspiration for Across the River and into the Trees, the story of Richard Cantwell, a war-ravaged American colonel stationed in Italy at the close of the Second World War, and his love for a young Italian countess. A bittersweet homage to love that overpowers reason, to the resilience of the human spirit, and to the world-weary beauty and majesty of Venice, Across the River and into the Trees stands as Hemingway's statement of defiance in response to the great dehumanizing atrocities of the Second World War.

    As Algren admitted, it wasn't written until long after it had been walked... I found my way to the streets on the other side of the Southern Pacific station, where the big jukes were singing something called "Walking the Wild Side of Life." I've stayed pretty much on that side of the curb ever since".Perhaps his own words describe the book best: The book asks why lost people sometimes develop into greater human beings than those who have never been lost in their whole lives. Why men who have suffered at the hands of other men are the natural believers in humanity, while those whose part has been simply to acquire, to take all and give nothing, are the most contemptuous of mankind.Cover Photograph: Jason Fulford

    In the pared-down style that has since become his hallmark, Carver showed us how humour and tragedy dwelt in the hearts of ordinary people, and won a readership that grew with every subsequent brilliant collection of stories, poems and essays that appeared in the last eleven years of his life.

    This wry tale follows bumbling bureaucrat Walter F. Starbuck from Harvard to the Nixon White House to the penitentiary as Watergate’s least known co-conspirator. But the humor turns dark when Vonnegut shines his spotlight on the cold hearts and calculated greed of the mighty, giving a razor-sharp edge to an unforgettable portrait of power and politics in our times.