James, and H.P. Lovecraft. The result is a thorough study of the art, craft, philosophy, and aesthetics of an enduring genre of fantastic literature.

    What is it about J. D. Salinger and his body of work that has left such a lasting mark on American fiction? And who better to answer that question than the current generation of writers?Here are fourteen of the most vital voices in the contemporary American fiction scene pulling no punches in response to a writer who continues to beguile, charm, fascinate, and frustrate generations of readers. Contributors Walter Kirn, Ren? Steinke, Charles D’Ambrosio, Emma Forrest, Aleksander Hemon, Lucinda Rosenfeld, Amy Sohn, John McNally, Karen E. Bender, Thomas Beller, Benjamin Anastas, Aimee Bender, Joel Stein, and Jane Mendelsohn turn themselves inside out as they discuss their personal reactions to reading Salinger classics–not only The Catcher in the Rye but also Franny and Zooey, Raise High the Roofbeams, Carpenters, and the short stories–and explore, with begrudging gratitude, how Salinger helped to form the deepest reaches of their literary imaginations.

    “The writers in this volume invite us into hidden places: a surgical pathologist’s laboratory, the boxing gym where a college professor and his student learn unexpected lessons about discipline, pain, and growing to adulthood. There are many discoveries to be made here, and I gladly invite the reader to an uncommonly rich and rewarding book.” — Kathleen Norris

    One tale recounts the author's search for a Kafka story that can only be found in an elusive and quite possibly cursed edition. Other stories feature humans dressing in full-body protective exoskins in the personas of old Hollywood movie stars to barter old Earth movies for an alien aphrodisiac and a young boy coming to terms with creation and moulding his own man out of detritus from a nearby forest. In the title story, a great fantasy writer loses touch with the world he has created and pleads with his young assistant to help him visualise the story's end and enable him to complete his greatest novel ever.

    O'Rourke is one of today's most celebrated political humorists, and has been hailed as "the funniest writer in America" by both Time and The Wall Street Journal. Two decades ago he published the classic travelogue Holidays in Hell, in which he traversed the globe on a fun-finding mission to what were then some of the most desperate places on the planet, including Warsaw, Managua, and Belfast.In Holidays in Heck, P.J. embarks on supposedly more comfortable and allegedly less dangerous travels--often with family in tow--which mostly leave him wishing he were under artillery fire again. The essays take O'Rourke on a whirlwind of adventures, beginning at the National Mall in Washington, which he describes as having been designed with the same amazing "greatest generation" aesthetic sensibility that informed his parents' living room. We follow him as he takes his family on a ski vacation (to the Aspen of the Midwest--Ohio--where the highest point of elevation is the six-food ski instructor that his wife thinks is cute). And later he experiences a harrowing horseback ride across the mountains of Kyrgyzstan.The result is a hilarious and often moving portrait of life in the fast lane--only this time as a husband and father.

    They do, however, reveal some interesting things about his insomnia and persistent fears (he hates darkness), his literary sources, work habits (he writes two hours a day, seven days a week) and how his scary novels are linked to his childhood insecurities and feelings of inadequacy. The interviews, conducted by various journalists over the past decade, originally ran in media ranging from Penthouse to the Baltimore Sun. Shrugging off critics who dismiss his work as derivative, King explains his fascination with the horrific and calls himself a good writer, not a great one. His comments on his novels and their movie adaptations are often astute, as when he interprets Carrie as a parable of women's consciousness or pans Stanley Kubrick's frigid direction of The Shining.

    In this exuberantly praised book — a collection of seven pieces on subjects ranging from television to tennis, from the Illinois State Fair to the films of David Lynch, from postmodern literary theory to the supposed fun of traveling aboard a Caribbean luxury cruiseliner — David Foster Wallace brings to nonfiction the same curiosity, hilarity, and exhilarating verbal facility that has delighted readers of his fiction, including the bestselling Infinite Jest.

    Matthew Bannister said he was going to reinvent the station, the most popular in Europe. But things didn't go exactly to plan. The station lost millions of listeners. Its most famous DJs left, and their replacements proved to be disasters. Radio 1's commercial rivals regarded the internal turmoil with glee. For a while a saviour arrived, in the shape of Chris Evans. But his behaviour caused further upheavals, and his eventual departure provoked another mass desertion by listeners. What was to be done? In the middle of this crisis, Radio 1 bravely (or foolishly) allowed the writer Simon Garfield to observe its workings from the inside. For a year he was allowed unprecedented access to management meetings and to DJs in their studios, to research briefings and playlist conferences. Everyone interviewed spoke in passionate detail about their struggle to make their station credible and successful once more. The result is a gripping and often hilarious portrait a much loved national institution as it battles back from the brink of calamity.

    At first I tried to deny my condition (trying to treat a tumor with hot baths and ice packs). Eventually, I decided I would learn as much about my illness as possible while trying to keep my emotions on hold.What followed was an experience that finally forced me to deal with issues about my body that I had tried to ignore for decades. Along the way I dealt with a physician who gave me ridiculous advice and acquaintances who asked unbelievable questions. But I was also fortunate to be surrounded by people who supported me and doctors who helped me through the process.

    With a "genius for illuminating that sometimes ephemeral apogee in people's lives when they prove capable of generating a brightly burning spark" "(Columbia Journalism Review), " Robert McG. Thomas Jr. commemorated fascinating, unconventional lives with signature style and wit."The New York Times" received countless letters over the years from readers moved to tears or laughter by a McG. Eschewing traditionally famous subjects, Thomas favored unsung heroes, eccentrics, and underachievers, including: Edward Lowe, the inventor of Kitty Litter ("Cat Owner's Best Friend"); Angelo Zuccotti, the bouncer at El Morocco ("Artist of the Velvet Rope"); and Kay Halle, a glamorous Cleveland department store heiress who received sixty-four marriage proposals ("An Intimate of Century's Giants"). In one of his classic obituaries, Thomas described Anton Rosenberg as a "storied sometime artist and occasional musician who embodied the Greenwich Village hipster ideal of 1950's cool to such a laid-back degree and with such determined detachment that he never amounted to much of anything." Thomas captured life's ironies and defining moments with elegance and a gift for making a sentence sing. He had an uncanny sense of the passion and personality that make each life unique, and the ability, as Joseph Epstein wrote, to "look beyond the facts and the rigid formula of the obit to touch on a deeper truth."Compiled by Chris Calhoun, one of Thomas's most dedicated readers, and with a fittingly sharp introduction from acclaimed novelist and critic Thomas Mallon, "52 McGs." will win legions of new fans to the masterful writer who transformed the obituary into an art form.

    Choices takes us back into the author's extraordinary life as she shares it with us in her most personal thoughts and feelings about her loves, about her daughter, about her work as an actress and her impassioned work for UNICEF, and, most important and telling, about entering her middle years and finding herself, perhaps for the first time in life, ready and anxious to make the choices that reflect her own needs and desires rather than those of the people around her.

    It includes essays, travel pieces and fictions to reveal Ed's life directly, in his own words.The selections gathered here are arranged chronologically by incident, not by date of publication, to offer Edward Abbey's life from the time he was the boy called Ned in Home, Pennsylvania, until his death in Tucson at age 62. A short note introduces each of the four parts of the book and attempts to identify what's happening in the author's life at the time. When relevant, some details of publishing history are provided.

    . . chilling” (Sports Illustrated), “blistering” (Baltimore Sun), “shocking . . . appalling” (Tacoma News Tribune), “astounding” (ESPN), “jaw-dropping” (Orlando Sentinel). Now, in Scoreboard, Baby, Armstrong and Perry go behind the scenes of the Huskies’ Cinderella story to reveal a timeless morality tale about the price of obsession, the creep of fanaticism, and the ways in which a community can lose even when its team wins. The authors unearth the true story from firsthand interviews and thousands of pages of documents: the forensic report on a bloody fingerprint; the notes of a detective investigating allegations of rape; confidential memoranda of prosecutors; and the criminal records of the dozen-plus players arrested that year with scant mention in the newspapers and minimal consequences in the courts. The statement of a judge, sentencing one player to thirty days in jail, says it all: “to be served after football season.”

    This book covers a critical part of the Battle of Gettysburg.

    Contents:Night of the Cooters (1987)French Scenes (1988)The Passing of the Western (1989)The Adventure of the Grinder's Whistle (1977)Thirty Minutes over Broadway! (1987)Hoover's Men (1988)Do Ya, Do Ya, Wanna Dance? (1988)Wild, Wild Horses (1988)Fin de Cyclé (1990)