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.

    The opening chapter outlines initial reactions to the novel from English and Caribbean critics, charting the differences between them. Chapter Two explores Wide Sargasso Sea 's dialogue with Jane Eyre and the theoretical questions it has raised. Succeeding chapters examine how critics have assessed the racial politics of Rhys's text, discuss the novel's African Caribbean cultural legacy, and explore how critics read the work both in terms of its moment of production and the early Victorian period in which it is set.

    He came of age during the Haight-Ashbury period and has been called “the last of the Beats.” His early books became required reading for the hip generation, and on its publication Trout Fishing in America became an international bestseller. An indescribable romp, the novel is best summed up in one word: mayonnaise. This new edition includes an introduction by the poet Billy Collins, who first encountered Brautigan’s work as a student in California.

    A living form of money results in the unraveling of the world."The bank is there to save and lend.""Workers work and customers spend."

    Dick's incomparable final trio of novels (the others being The Divine Invasion and The Transmigration of Timothy Archer). This disorienting and bleakly funny work is about a schizophrenic hero named Horselover Fat; the hidden mysteries of Gnostic Christianity; and reality as revealed through a pink laser. VALIS is a theological detective story, in which God is both a missing person and the perpetrator of the ultimate crime.

    . . A street preacher decked out in denim robes and running shoes, Julius is a source of inspiration for a community that knows nothing of his scandalous origins. But when a nearby mental hospital releases its patients to run amok in his neighborhood, his trusted if bedraggled flock turns expectantly to Julius to find out what’s going on. Amid the descending chaos, Julius encounters a hospital escapee who babbles prophecies of doom, and the growing palpable sense of impending danger intensifies. . . as does the feeling that everyone may be relying on a street preacher just a little too much. Still, Julius decides he must confront the forces that threaten his congregation—including the peculiar followers of a religious cult, the mysterious men and women dressed all in red seen fleetingly amid the bedlam, and an enigmatic smoking figure who seems to know what’s going to happen just before it does. In the end, The Revisionaries is a wildly imaginative, masterfully rendered, and suspenseful tale that conjures the bold outlandishness stylishness of Thomas Pynchon, Margaret Atwood, and Alan Moore—while being unlike anything that’s come before.

    In this outrageously farcical adventure, hero  George Giles sets out to conquer the terrible Wescac computer system that threatens to destroy his community in this brilliant "fantasy of theology, sociology, and sex" (Time).

    A tremendously influential poet and dramatist, Beckett spoke of his prose fiction as the "important writing", the medium in which his ideas were most powerfully distilled. Here, for the first time, his short prose is gathered in a definitive, complete volume, by leading Beckett scholar S.E. Gontarski.

    Pregnant with her second child, Martha King finds her marriage to lawyer Austin King more and more frustrating when her husband befriends his young foster cousin, Nora, and, in the process, unwittingly jeopardizes his marriage, career, and place in the community.

    This here is the story of the Loop Garoo Kid. A cowboy so bad he made a working posse of spells phone in sick. A bullwhacker so unfeeling he left the print of winged mice on hides of crawling women. A desperado so onery he made the Pope cry and the most powerful of cattlemen shed his head to the Executioner's swine." And so begins the HooDoo Western by Ishmael Reed, author of Mumbo Jumbo and one of America's most innovative and celebrated writers. Reed demolishes white American history and folklore as well as Christian myth in this masterful satire of contemporary American life. In addition to the black, satanic Loop Garoo Kid, Yellow Back Radio Broke-Down features Drag Gibson (a rich, slovenly cattleman), Mustache Sal (his nymphomaniac mail-order bride), Thomas Jefferson and many others in a hilarious parody of the old Western.

    Baker set out to track the daily comings and goings of a pair of peregrine falcons across the flat fen lands of eastern England. He followed the birds obsessively, observing them in the air and on the ground, in pursuit of their prey, making a kill, eating, and at rest, activities he describes with an extraordinary fusion of precision and poetry. And as he continued his mysterious private quest, his sense of human self slowly dissolved, to be replaced with the alien and implacable consciousness of a hawk.It is this extraordinary metamorphosis, magical and terrifying, that these beautifully written pages record.

    You already know David as the legendary warrior king of Israel, husband of Bathsheba, and father of Solomon; now meet David as he really was: the cocky Jewish kid, the plagiarized poet, and the Jewish father. Listen as David tells his own story, a story both relentlessly ancient and surprisingly modern, about growing up and growing old, about men and women, and about man and God. It is quintessential Heller.

    The first major work of contemporary fiction ever to use living historical figures as characters, the novel reimagines the three fateful days in 1953 that culminated with the execution of alleged atomic spies Julius and Ethel Rosenberg. Vice-President Richard Nixon - the voraciously ambitious bad boy of the Eisenhower regime - is the dominant narrator in an enormous cast that includes Betty Crocker, Joe McCarthy, the Marx Brothers, Walter Winchell, Uncle Sam, his adversary The Phantom, and Time magazine incarnated as the National Poet Laureate. All of these and thousands more converge in Times Square for the carnivalesque auto-da-fe at which the Rosenbergs are put to death. And not a person present escapes implication in Cold War America's ruthless "public burning."

    And J R is a book of comparable magnitude, substance, and humor--a rushing, raucous look at money and its influence, at love and its absence, at success and its failures, in the magnificently orchestrated circus of all its larger- and smaller-than-life characters; a frantic, forlorn comedy about who uses -- and misuses -- whom.At the center: J R, ambitious sixth-grader in torn sneakers, bred on the challenge of "free enterprise" and fired by heady mail-order promises of "success." His teachers would rather be elsewhere, his principal doubles as a bank president, his Long Island classroom mirrors the world he sees around him -- a world of public relations and private betrayals where everything (and everyone) wears a price tag, a world of "deals" where honesty is no substitute for experience, and the letter of the law flouts its spirit at every turn. Operating from the remote anonymity of phone booths and the local post office, with beachheads in a seedy New York cafeteria and a catastrophic, carton-crammed tenement on East 96th Street, J R parlays a deal for thousands of surplus Navy picnic forks through penny stock flyers and a distant textile-mill bankruptcy into a nationwide, hydra-headed "family of companies."The J R Corp and its Boss engulf brokers, lawyers, Congressmen, disaffected school teachers and disenfranchised Indians, drunks, divorcées, second-hand generals, and a fledgling composer hopelessly entangled in a nightmare marriage of business and the arts. Their bullish ventures -- shaky mineral claims and gas leases, cost-plus defense contracts, a string of nursing homes cum funeral parlors, a formula for frozen music -- burgeon into a paper empire ranging from timber to textiles, from matchbooks to (legalized) marijuana, from prostheses to publishing, inadvertently crushing hopes, careers, an entire town, on a collision course with the bigger world . . . the pragmatic Real World where the business of America is business, where the stock market exists as a convenience, and the tax laws make some people more equal than others . . . the world that makes the rules because it plays to win, and plays for keeps.Absurdly logical, mercilessly real, gathering its own tumultuous momentum for the ultimate brush with commodity trading when the drop in pork belly futures masks the crumbling of our own, J R captures the reader in the cacophony of voices that revolves around this young captive of his own myths -- voices that dominate the book, talking to each other, at each other, into phones, on intercoms, from TV screens and radios -- a vast mosaic of sound that sweeps the reader into the relentless "real time" of spoken words in a way unprecedented in modern fiction. The disturbing clarity with which this finished writer captures the ways in which we deal, dissemble, stumble through our words -- through our lives -- while the real plans are being made elsewhere makes J R the extraordinary novel that it is.--From the first-edition dustjacket

    For now, he’s squatting in a collapsing house, working as a stone mason, driving a jacked up pickup truck that he crashes into everything. As a close friend Ods in his sleep, Lee falls into a three-way relationship with two college girls, June Doom and K Neon. F250 is a novel equal parts about growing up, and being torn apart."Bud Smith is Nick Hornby if you strapped him to a Tesla coil and launched him into a Sun made of Poetry." --Ben Loory, author of Stories for Nighttime and some for the Day