Freddy and Fredericka—a brilliantly refashioned fairy tale and a magnificently funny farce—only seems like a radical departure of form, for behind the laughter, Helprin speaks of leaps of faith and second chances, courage and the primacy of love. Helprin’s latest work, an extraordinarily funny allegory about a most peculiar British royal family, is immensely mocking of contemporary monarchy and yet deeply sympathetic to the individuals caught in its lonely absurdities.

    A tour de force of menace, malicious comedy, and torrential social bile, this book marks the American debut of an extraordinary writer.

    Jerome's Three Men in a Boat includes an introduction and notes by Jeremy Lewis in Penguin Classics.Martyrs to hypochondria and general seediness, J. and his friends George and Harris decide that a jaunt up the Thames would suit them to a 'T'. But when they set off, they can hardly predict the troubles that lie ahead with tow-ropes, unreliable weather forecasts and tins of pineapple chunks - not to mention the devastation left in the wake of J.'s small fox-terrier Montmorency. Three Men in a Boat was an instant success when it appeared in 1889, and, with its benign escapism, authorial discursions and wonderful evocation of the late-Victorian 'clerking classes', it hilariously captured the spirit of its age.In his introduction, Jeremy Lewis examines Jerome K. Jerome's life and times, and the changing world of Victorian England he depicts - from the rise of a new mass-culture of tabloids and bestselling novels to crazes for daytripping and bicycling.

    He keeps a list, in fact. But Laura isn't on it - even though she's just become his latest ex. He's got his life back, you see. He can just do what he wants when he wants: like listen to whatever music he likes, look up the girls that are on his list, and generally behaves as if Laura never mattered. But Rob finds he can't move on. He's stuck in a really deep groove - and it's called Laura. Soon, Rob's asking himself some big questions: about love, about life - and about why we choose to share ours with the people we do.

    Its depiction of innocence and simple humanity (all seasoned with a dash of dysfunctional profanity) in an evil world is never less than astonishing. The only novel to be set in the barbecue sauce capital of Central Texas, Vernon God Little suggests that desperate times throw up the most unlikely of heroes.

    The characters in Then We Came To The End cope with a business downturn in the time-honored way: through gossip, secret romance, elaborate pranks, and increasingly frequent coffee breaks. By day they compete for the best office furniture left behind and try to make sense of the mysterious pro-bono ad campaign that is their only remaining "work."

    In this wonderfully written and masterfully plotted novel, Jane Smiley, the prizewinning author of A Thousand Acres, offers a wickedly funny, darkly poignant comedy.

    Formerly a governess, she has landed on the occupation of prestidigitator, and thanks to her overwhelming beauty—and to a lesser extent her professional talents—she takes the town by storm, gaining admittance to her grandfather's college. It is there, at the institution inspired by Beerbohm's own alma mater, that she falls in love with the Duke of Dorset, who duly adores her in return. Ever aware of appearances, however, Zuleika breaks the Duke's heart when she decides that she must abandon the match. The epidemic of heartache that proceeds to overcome the academic town makes for some of the best comic writing in the history of English literature.

    Mrs. Hawkins, the majestic narrator, takes us well in hand and leads us back to her threadbare years in postwar London. There, as a fat and much admired young war widow, she spent her days working for a mad, near-bankrupt publisher ("of very good books") and her nights dispensing advice at her small South Kensington rooming house. At work and at home Mrs. Hawkins soon uncovered evil: shady literary doings and a deadly enemy; anonymous letters, blackmail, and suicide. With aplomb, however, Mrs. Hawkins confidently set about putting things to order, little imagining the mayhem that would ensue. Now decades older, thin, successful, and delighted with life in Italy--quite a far cry from Kensington--Mrs. Hawkins looks back to all those dark doings and recounts how her own life changed forever. She still, however, loves to give advice: "It's easy to get thin. You eat and drink the same as always, only half...I offer this advice without fee; it is included in the price of this book."

    Time passes and opinions change. “Why should we go on supporting a book which we detest?” Rose Curtland asks. “The brotherhood of Western intellectuals versus the book of history,” Jenkin Riderhood suggests. The theft of a wife further embroils the situation. Moral indignation must be separated from political disagreement. Tamar Hernshaw has a different trouble and a terrible secret. Can one die of shame? In another quarter a suicide pact seems the solution. Duncan Cambus thinks that since it is a tragedy, someone must die. Someone dies. Rose, who has gone on loving without hope, at least deserves a reward.

    Billed as The Lucky Chances, the sisters are the illegitimate and unacknowledged daughters of Sir Melchior Hazard, the greatest Shakespearean actor of his day. At once ribald and sentimental, glittery and tender, this rambunctious family saga is Angela Carter at her bewitching best.

    For the next quarter century, the “Friendly Neighbor” station produces a dazzling array of shows and stars, including Leo LaValley, Dad Benson, Wingo Beals, Slim Graves and Little Buddy, chain-smoking child star Marjery Moore, and blind baseball announcer Buck Steller.Francis With, a shy young man from North Dakota, entranced by radio, gets into WLT through his uncle Art and quickly becomes the Soderbjerg's right hand. Soon Francis is a budding announcer adored by Lily Dale, the crippled nightingale of WLT kept hidden from her fans, whose firing contributes to the downfall of the station. And then comes television.

    Set in the bleak Fen Country of East Anglia, and spanning some 240 years in the lives of its haunted narrator and his ancestors, Waterland is a book that takes in eels and incest, ale-making and madness, the heartless sweep of history and a family romance as tormented as any in Greek tragedy.

    In a wonderful twist on her subjects, she has written a book inspecting the behavior of a group of anthropologists. She pits them against each other in affairs of the heart and mind.Academia is an especially rich backdrop. There is competition between the sexes, gender, and age groups. With Pym's keen eye for male pretensions and female susceptibilities, she exploits with good humor. Love will have its way even among the learned, one of whom is in a quandary between an adult and a young student. This is the world of research, grants, libraries and primitive cultures. Here is a particularly interesting contrast between the tribes of Africa and the social matrix of London. As the title implies, civilized society fares not too well on moral grounds to the more primitive societies. Barbara Pym does a masterful job with the mores of the cloistered society of academia.

    He travels lightly, simply. To those who travel with him and those whom he meets on the way - including a handsome, enigmatic stranger, a group of careless backpackers and a woman on the edge - he is the Follower, the Lover and the Guardian. Yet, despite the man's best intentions, each journey ends in disaster. Together, these three journeys will change his whole life. A novel of longing and thwarted desire, rage and compassion, "In a Strange Room" is the hauntingly beautiful evocation of one man's search for love, and a place to call home.