Set in an addicts' halfway house and a tennis academy, and featuring the most endearingly screwed-up family to come along in recent fiction, Infinite Jest explores essential questions about what entertainment is and why it has come to so dominate our lives; about how our desire for entertainment affects our need to connect with other people; and about what the pleasures we choose say about who we are. Equal parts philosophical quest and screwball comedy, Infinite Jest bends every rule of fiction without sacrificing for a moment its own entertainment value. It is an exuberant, uniquely American exploration of the passions that make us human—and one of those rare books that renew the idea of what a novel can do.

    Its sprawling, encyclopedic narrative, and penetrating analysis of the impact of technology on society make it an intellectual tour de force.

    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.

    In a New York of increasingly frequent superstorms and social unrest, he must reckon with his own mortality and the prospect of fatherhood in a city that might soon be underwater. A writer whose work Jonathan Franzen has called "hilarious . . . cracklingly intelligent . . . and original in every sentence," Lerner captures what it's like to be alive now, during the twilight of an empire, when the difficulty of imagining a future is changing our relationship to both the present and the past.

    Franzen brings an old-time America of freight trains and civic duty, of Cub Scouts and Christmas cookies and sexual inhibitions, into brilliant collision with the modern absurdities of brain science, home surveillance, hands-off parenting, do-it-yourself mental healthcare, and the anti-gravity New Economy. With The Corrections, Franzen emerges as one of our premier interpreters of American society and the American soul.Enid Lambert is terribly, terribly anxious. Although she would never admit it to her neighbors or her three grown children, her husband, Alfred, is losing his grip on reality. Maybe it's the medication that Alfred takes for his Parkinson's disease, or maybe it's his negative attitude, but he spends his days brooding in the basement and committing shadowy, unspeakable acts. More and more often, he doesn't seem to understand a word Enid says.Trouble is also brewing in the lives of Enid's children. Her older son, Gary, a banker in Philadelphia, has turned cruel and materialistic and is trying to force his parents out of their old house and into a tiny apartment. The middle child, Chip, has suddenly and for no good reason quit his exciting job as a professor at D------ College and moved to New York City, where he seems to be pursuing a "transgressive" lifestyle and writing some sort of screenplay. Meanwhile the baby of the family, Denise, has escaped her disastrous marriage only to pour her youth and beauty down the drain of an affair with a married man--or so Gary hints.Enid, who loves to have fun, can still look forward to a final family Christmas and to the ten-day Nordic Pleasurelines Luxury Fall Color Cruise that she and Alfred are about to embark on. But even these few remaining joys are threatened by her husband's growing confusion and unsteadiness. As Alfred enters his final decline, the Lamberts must face the failures, secrets, and long-buried hurts that haunt them as a family if they are to make the corrections that each desperately needs.

    But then a voluptuous young widow badgers Rabo into telling his life story—and Vonnegut in turn tells us the plain, heart-hammering truth about man’s careless fancy to create or destroy what he loves.

    Their wives, Gwen Shanks and Aviva Roth-Jaffe, are the Berkeley Birth Partners, two semi-legendary midwives who have welcomed more than a thousand newly minted citizens into the dented utopia at whose heart - half tavern, half temple - stands Brokeland. When ex–NFL quarterback Gibson Goode, the fifth-richest black man in America, announces plans to build his latest Dogpile megastore on a nearby stretch of Telegraph Avenue, Nat and Archy fear it means certain doom for their vulnerable little enterprise. Meanwhile, Aviva and Gwen also find themselves caught up in a battle for their professional existence, one that tests the limits of their friendship. Adding another layer of complication to the couples' already tangled lives is the surprise appearance of Titus Joyner, the teenage son Archy has never acknowledged and the love of fifteen-year-old Julius Jaffe's life. An intimate epic, a NorCal Middlemarch set to the funky beat of classic vinyl soul-jazz and pulsing with a virtuosic, pyrotechnical style all its own, Telegraph Avenue is the great American novel we've been waiting for. Generous, imaginative, funny, moving, thrilling, humane, triumphant, it is Michael Chabon's most dazzling book yet.

    The walks meet a need for Julius: they are a release from the tightly regulated mental environment of work, and they give him the opportunity to process his relationships, his recent breakup with his girlfriend, his present, his past.But it is not only a physical landscape he covers; Julius crisscrosses social territory as well, encountering people from different cultures and classes who will provide insight on his journey—which takes him to Brussels, to the Nigeria of his youth, and into the most unrecognizable facets of his own soul.

    He’s drawn into the streets of New York, onto an elusive case that’s more puzzling and more deeply-layered than anything he might have written himself. In Ghosts, Blue, a mentee of Brown, is hired by White to spy on Black from a window on Orange Street. Once Blue starts stalking Black, he finds his subject on a similar mission, as well. In The Locked Room, Fanshawe has disappeared, leaving behind his wife and baby and nothing but a cache of novels, plays, and poems.This Penguin Classics Deluxe Edition includes an introduction from author and professor Luc Sante, as well as a pulp novel-inspired cover from Art Spiegelman, Pulitzer Prize-winning graphic artist of Maus and In the Shadow of No Towers.

    Chase owes his current social cachet to an ongoing tragedy much covered in the tabloids: His teenage sweetheart and fiancée, Janice Trumbull, is trapped by a layer of low-orbit mines on the International Space Station, from which she sends him rapturous and heartbreaking love letters. Like Janice, Chase is adrift, she in Earth's stratosphere, he in a vague routine punctuated by Upper East Side dinner parties. Into Chase's cloistered city enters Perkus Tooth, a wall-eyed free-range pop critic whose soaring conspiratorial riffs are fueled by high-grade marijuana, mammoth cheeseburgers, and a desperate ache for meaning. Perkus's countercultural savvy and voracious paranoia draw Chase into another Manhattan, where questions of what is real, what is fake, and who is complicit take on a life-shattering urgency. Along with Oona Laszlo, a self-loathing ghostwriter, and Richard Abneg, a hero of the Tompkins Square Park riot now working as a fixer for the billionaire mayor, Chase and Perkus attempt to unearth the answers to several mysteries that seem to offer that rarest of artifacts on an island where everything can be bought: Truth. Like Manhattan itself, Jonathan Lethem's masterpiece is beautiful and tawdry, tragic and forgiving, devastating and antic, a stand-in for the whole world and a place utterly unique.

     Following the astonishing success of his first novel, One Flew Over the Cuckoo's Nest, Ken Kesey wrote what Charles Bowden calls "one of the few essential books written by an American in the last half century." This wild-spirited tale tells of a bitter strike that rages through a small lumber town along the Oregon coast. Bucking that strike out of sheer cussedness are the Stampers. Out of the Stamper family's rivalries and betrayals Ken Kesey has crafted a novel with the mythic impact of Greek tragedy.

    Tracing the lives, loves, and aspirations of two couples who move between Vermont and Wisconsin, it is a work of quiet majesty, deep compassion, and powerful insight into the alchemy of friendship and marriage.

    Decades later the bond remains powerful, but so much else has changed. In The Interestings, Wolitzer follows these characters from the height of youth through middle age, as their talents, fortunes, and degrees of satisfaction diverge. The kind of creativity that is rewarded at age fifteen is not always enough to propel someone through life at age thirty; not everyone can sustain, in adulthood, what seemed so special in adolescence. Jules Jacobson, an aspiring comic actress, eventually resigns herself to a more practical occupation and lifestyle. Her friend Jonah, a gifted musician, stops playing the guitar and becomes an engineer. But Ethan and Ash, Jules's now-married best friends, become shockingly successful—true to their initial artistic dreams, with the wealth and access that allow those dreams to keep expanding. The friendships endure and even prosper, but also underscore the differences in their fates, in what their talents have become and the shapes their lives have taken. Wide in scope, ambitious, and populated by complex characters who come together and apart in a changing New York City, The Interestings explores the meaning of talent; the nature of envy; the roles of class, art, money, and power; and how all of it can shift and tilt precipitously over the course of a friendship and a life.

    On the last night of 1937, twenty-five-year-old Katey Kontent is in a second-rate Greenwich Village jazz bar when Tinker Grey, a handsome banker, happens to sit down at the neighboring table. This chance encounter and its startling consequences propel Katey on a year-long journey into the upper echelons of New York society—where she will have little to rely upon other than a bracing wit and her own brand of cool nerve. With its sparkling depiction of New York’s social strata, its intricate imagery and themes, and its immensely appealing characters, Rules of Civility won the hearts of readers and critics alike.

    Its hero is Harry “Rabbit” Angstrom, a onetime high-school basketball star who on an impulse deserts his wife and son. He is twenty-six years old, a man-child caught in a struggle between instinct and thought, self and society, sexual gratification and family duty—even, in a sense, human hard-heartedness and divine Grace. Though his flight from home traces a zigzag of evasion, he holds to the faith that he is on the right path, an invisible line toward his own salvation as straight as a ruler’s edge.