Most “Mojavs,” prevented by armed vigilantes from freely crossing borders to lusher regions, have allowed themselves to be evacuated to encampments in the east. Holdouts like Ray and Luz subsist on rationed cola and water, and whatever they can loot, scavenge, and improvise.For the moment, the couple’s fragile love, which somehow blooms in this arid place, seems enough. But when they cross paths with a mysterious child, the thirst for a better future begins. Immensely moving, profoundly disquieting, and mind-blowingly original, Watkins’s novel explores the myths we believe about others and tell about ourselves, the double-edged power of our most cherished relationships, and the shape of hope in a precarious future that may be our own.

    But as he immerses himself in a routine so tedious and repetitive that new employees receive boredom-survival training, he learns of the extraordinary variety of personalities drawn to this strange calling. And he has arrived at a moment when forces within the IRS are plotting to eliminate even what little humanity and dignity the work still has.The Pale King remained unfinished at the time of David Foster Wallace's death, but it is a deeply compelling and satisfying novel, hilarious and fearless and as original as anything Wallace ever undertook. It grapples directly with ultimate questions--questions of life's meaning and of the value of work and society--through characters imagined with the interior force and generosity that were Wallace's unique gifts. Along the way it suggests a new idea of heroism and commands infinite respect for one of the most daring writers of our time.

    features an Asian-American television news executive, Emi, and a Latino newspaper reporter, Gabriel, who are so focused on chasing stories they almost don't notice that the world is falling apart all around them. Karen Tei Yamashita's staccato prose works well to evoke the frenetic breeziness and monumental self-absorption that are central to their lives.-Janet Kaye, The New York Times Book Review

    From their "carpenter gothic" rented house, Paul sets himself up as a media consultant for Reverend Ude, an evangelist mounting a grand crusade that conveniently suits a mining combine bidding to take over an ore strike on the site of Ude's African mission. At the still center of the breakneck action--revealed in Gaddis's inimitable virtuoso dialoge--is Paul's wife, Liz, and over it all looms the shadowy figure of McCandless, a geologist from whom Paul and Liz rent their house. As Paul mishandles the situation, his wife takes the geologist to her bed and a fire and aborted assassination occur; Ude issues a call to arms as harrowing as any Jeremiad--and Armageddon comes rapidly closer. Displaying Gaddis's inimitable virtuoso dialogue, and his startling treatments of violence and sexuality, Carpenter's Gothic "shows again that Gaddis is among the first rank of contemporary American writers" (Malcolm Bradbury, "The Washington Post Book World" ). "An unholy landmark of a novel--an extra turret added on to the ample, ingenious, audacious Gothic mansion Gaddis has been building in American letters" --Cynthia Ozick, "The New York Times Book Review" "Everything in this compelling and brilliant vision of America--the packaged sleaze, the incipient violence, the fundamentalist furor, the constricted sexuality--is charged with the force of a volcanic eruption. "Carpenter's Gothic" will reenergize and give shape to contemporary literature." --Walter Abish

    At the beginning of this novel, she drives back to her family ranch in the foothills of the Sierras to attend the wedding of her identical twin, Judith, to a nice young doctor from Connecticut. Cassandra, however, is hell-bent on sabotaging the wedding. Dorothy Baker's entrancing tragicomic novella follows an unpredictable course of events in which her heroine appears variously as conniving, self-aware, pitiful, frenzied, absurd, and heartbroken—at once utterly impossible and tremendously sympathetic. Cassandra reckons with her complicated feelings about the sister who she feels owes it to her to be her alter ego; with her father, a brandy-soaked retired professor of philosophy; and with the ghost of her dead mother, as she struggles to come to terms with the only life she has. First published in 1962, Cassandra at the Wedding is a book of enduring freshness, insight, and verve. Like the fiction of Jeffrey Eugenides and Jhumpa Lahiri, it is the work of a master stylist with a profound understanding of the complexities of the heart and mind.

    For her and her brother, Nik, now in their forties, no relationship is more significant. They grew up in Los Angeles in the late seventies and early eighties. Nik was always the artist, always wrote music, always had a band. Now he makes his art in private, obsessively documenting the work, but never testing it in the world. Denise remains Nik’s most passionate and acute audience, sometimes his only audience. She is also her family’s first defense against the world’s fragility. Friends die, their mother’s memory and mind unravel, and the news of global catastrophe and individual tragedy haunts Denise. When her daughter, Ada, decides to make a film about Nik, everyone’s vulnerabilities seem to escalate.Dana Spiotta has established herself as a “singularly powerful and provocative writer” (The Boston Globe) whose work is fiercely original. Stone Arabia—riveting, unnerving, and strangely beautiful—reexamines what it means to be an artist and redefines the ties that bind.

    And yet, his physical curse proves to be a blessing, allowing him to try to win the heart of the same woman three times as at each successive encounter she fails to recognize him, taking him for a stranger, so giving Max another chance at love.Set against the historical backdrop of San Francisco at the turn of the twentieth century, Andrew Sean Greer's The Confessions of Max Tivoli is a beautiful and daring feat of the imagination, questioning the very nature of love, time, and what it means to be human.

    Far away. But Chin soon becomes the follower.In the first of many such instances, they are separated, both resurfacing some days later at an insane asylum. Chin has run afoul of the law and Sarah has been committed for observation. Their escape from the asylum in the company of another inmate sets into motion a series of adventures and misadventures that are at once hilarious, deeply moving, and downright terrifying."Powerfully imagined...Drop everything and follow Sarah Canary....Humor and horror, history and myth dance cheek to cheek in this Jack London meets L. Frank Baum world....Here is a work that manages to be at the same time (and often in the same sentence) dark and deep and fun."--The Washington Post Book World

    Following Paul from New York, where he comically navigates Manhattan's art and literary scenes, to Taipei, Taiwan, where he confronts his family's roots, we see one relationship fail, while another is born on the internet and blooms into an unexpected wedding in Las Vegas.From one of this generation's most talked-about and enigmatic writers comes a deeply personal and uncompromising novel about memory, love, and what it means to be alive.

    Based on historical events that took place on the Texas-Mexico border in the 1850s, it traces the fortunes of the Kid, a fourteen-year-old Tennesseean who stumbles into a nightmarish world where Indians are being murdered and the market for their scalps is thriving.

    It lends to milk cartons the associative richness of Marcel Proust's madeleines. It names the eight most significant advances in a human life -- beginning with shoe-tying. It asks whether the hot air blowers in bathrooms really are more sanitary than towels. And it casts a dazzling light on our relations with the objects and people we usually take for granted.

    It’s the tale of Hannali Innominee, a ’Mingo’ or natural lord of the 19th-century Choctaw Indian [and] a capacious, indomitable giant of the ilk of Paul Bunyan....Lafferty tells it straight: how the Choctaw nation, once removed, reconstituted itself and thrived in Indian territory...., how there came a schism between the rich, part-white, slave-owning, moneylending Choctaws and the ’feudal, compassionate, chauvinistic’ full-blooded freeholders like Hannali; and how, during the Civil War, the Indians were manipulated divide-and-conquer fashion in helping destroy each other."–Kirkus Reviews.

    In Ron Currie's provocative, wise, and emotionally resonant novel we meet God himself; the Dinka woman whose mortality He must suffer when He inhabits her body; people all over the world coping with the devastating news of God's demise; a group of young men who, fearing the end of the world, take fate into their own hands; mental patients who insist that a god still exists; armies taking up the eternal war between fate and free will; and parents who, in the absence of a deity and the “lack of anything to do on Sundays,” worship their children. On the surface, this is a world utterly transformed—yet certain things remain unchanged: protective parents clash with willful, idealistic teenagers; idols are exalted; small-town rumor mills run unabated; and children often don't realize how to forgive their parents until it's too late.In God Is Dead, Currie brings together a prescient satirical gift worthy of Jonathan Swift, the raw appeal of Chuck Palahniuk's blackest comedy, and the thought-provoking ethical questions of Kurt Vonnegut, all with a light touch, empathy, and wisdom that make for an exhilarating reading experience. Offbeat yet accessible, God Is Dead is an exciting debut from a fresh new voice in contemporary fiction.

    John Hawkes, in his search for a means to transcend outworn modes of fictional realism, has discovered a highly original technique for objectifying the perennial degradation of mankind within a context of fantasy… Nowhere has the nightmare of human terror and the deracinated sensibility been more concisely analyzed than in The Cannibal. Yet one is aware throughout that such analysis proceeds only in terms of a resolutely committed humanism.”— Hayden Carruth on John Hawkes's The Cannibal

    Dogs, birds, horses, automobiles, and the weather are some of the recycled elements in Marcus's first collection—part fiction, part handbook—as familiar objects take on markedly unfamiliar meanings. Gradually, this makeshift world, in its defiance of the laws of physics and language, finds a foundation in its own implausibility, as Marcus produces new feelings and sensations—both comic and disturbing—in the definitive guide to an unpredictable yet exhilarating plane of existence.