After witnessing a profoundly traumatic event, a boy is left alone in a remote house on a hilltop with his increasingly deranged parent. When a stranger knocks on his door, the boy senses that his days of isolation are over—but by what authority does this man keep the meticulous records he carries? Is he the boy’s friend? His enemy? Or something altogether other?

    There’s no chance left. No hope. Just six precious months until impact. The Last Policeman presents a fascinating portrait of a pre-apocalyptic United States. The economy spirals downward while crops rot in the fields. Churches and synagogues are packed. People all over the world are walking off the job—but not Hank Palace. He’s investigating a death by hanging in a city that sees a dozen suicides every week—except this one feels suspicious, and Palace is the only cop who cares. The first in a trilogy, The Last Policeman offers a mystery set on the brink of an apocalypse. As Palace’s investigation plays out under the shadow of 2011GV1, we’re confronted by hard questions way beyond “whodunit.” What basis does civilization rest upon? What is life worth? What would any of us do, what would we really do, if our days were numbered?

    Ben’s one-time best friend, Peter Aaron, begins to retrospectively investigate the transformation that led Ben from his enviable stable life, to one of a recluse. Both were once intelligent, yet struggling novelists until Ben’s near-death experience falling from a fire escape triggers a tumble in which he becomes withdrawn and disturbed, living alone and building bombs in a far-off cabin. That is, until he mysteriously disappears, leaving behind only a manuscript titled Leviathan, pages rustling in the wind.

    A young boy and his adopted aunt become separated when the youngster is kidnapped by his wealthy, eccentric great-uncle, but mysterious ties continue to link the two unknowingly over the fifteen-year separation.

    It is the story of four generations of a singular family, living in a house that is many houses on the magical border of an otherworld. It is a story of fantastic love and heartrending loss; of impossible things and unshakable destinies; and of the great Tale that envelops us all. It is a wonder.

    Proud, grateful, and longing to be American, the Jews of the Sitka District have created their own little world in the Alaskan panhandle, a vibrant, gritty, soulful, and complex frontier city that moves to the music of Yiddish. For sixty years they have been left alone, neglected and half-forgotten in a backwater of history. Now the District is set to revert to Alaskan control, and their dream is coming to an end: once again the tides of history threaten to sweep them up and carry them off into the unknown. But homicide detective Meyer Landsman of the District Police has enough problems without worrying about the upcoming Reversion. His life is a shambles, his marriage a wreck, his career a disaster. He and his half-Tlingit partner, Berko Shemets, can't catch a break in any of their outstanding cases. Landsman's new supervisor is the love of his life—and also his worst nightmare. And in the cheap hotel where he has washed up, someone has just committed a murder—right under Landsman's nose. Out of habit, obligation, and a mysterious sense that it somehow offers him a shot at redeeming himself, Landsman begins to investigate the killing of his neighbor, a former chess prodigy. But when word comes down from on high that the case is to be dropped immediately, Landsman soon finds himself contending with all the powerful forces of faith, obsession, hopefulness, evil, and salvation that are his heritage—and with the unfinished business of his marriage to Bina Gelbfish, the one person who understands his darkest fears. At once a gripping whodunit, a love story, an homage to 1940s noir, and an exploration of the mysteries of exile and redemption, The Yiddish Policemen's Union is a novel only Michael Chabon could have written.(front flap)

    They fly two into the Tigris & Euphrates World Trade Towers in Baghdad, and a third into the Arab Defense Ministry in Riyadh. The fourth plane, believed to be bound for Mecca, is brought down by its passengers.The United Arab States declares a War on Terror. Arabian and Persian troops invade the Eastern Seaboard and establish a Green Zone in Washington, D.C. . . .Summer, 2009: Arab Homeland Security agent Mustafa al Baghdadi interrogates a captured suicide bomber. The prisoner claims that the world they are living in is a mirage--in the real world, America is a superpower, and the Arab states are just a collection of "backward third-world countries." A search of the bomber's apartment turns up a copy of "The New York Times," dated September 12, 2001, that appears to support his claim. Other captured terrorists have been telling the same story. The president wants answers, but Mustafa soon discovers he's not the only interested party.The gangster Saddam Hussein is conducting his own investigation. And the head of the Senate Intelligence Committee--a war hero named Osama bin Laden--will stop at nothing to hide the truth. As Mustafa and his colleagues venture deeper into the unsettling world of terrorism, politics, and espionage, they are confronted with questions without any rational answers, and the terrifying possibility that their world is not what it seems.Acclaimed novelist Matt Ruff has created a shadow world that is eerily recognizable but, at the same time, almost unimaginable. Gripping, subversive, and unexpectedly moving, "The Mirage" probes our deepest convictions and most arresting fears.

    It is the most toxic drug ever to find its way on to the streets of LA. It destroys the links between the brain's two hemispheres, causing, first, disorientation and then complete and irreversible brain damage.The undercover narcotics agent who calls himself Bob Arctor is desperate to discover the ultimate source of supply. But to find any kind of lead he has to pose as a user and, inevitably, without realising what is happening, Arctor is soon as addicted as the junkies he works among...

    He finds himself on a collision course that results in a desperate romance, and a journey into the ecstasy and dread that mirror each other at the heart of the postmodern experience.

    Caliban to King Kong, Edgar Allan Poe’s stories, the films of David Lynch, Beauty and the Beast, The Wizard of Oz, E.T., Richard Yates’s domestic realism, B-horror movies, and the fairy tales of Angela Carter—how such a short novel could contain all of these disparate elements is a testament to its startling and singular charm.

    The only thing is the sheriff can find neither the body nor someone to attest to the killing. Simply, almost elementally told through the voices of the sheriff, a local farmer, his beautiful wife, their son, and the sheriff's deputy, One Foot in Eden signals the bellwether arrival of one the most mature and distinctive voices in southern literature.

    (Think: Barton Fink crossed with Patricia Highsmith)In this atmospheric, suspenseful novel, an American couple travels to a strange, snowy European city to adopt a baby, who they hope will resurrect their failing marriage. Their difficult journey leaves the wife, who is struggling with cancer, desperately weak, and her husband worries that her apparent illness will prevent the orphanage from releasing their child.The couple check into the cavernous and eerily deserted Borgarfjaroasysla Grand Imperial Hotel where the bar is always open, the restaurant serves thirteen-course dinners from centuries past, and the doors of the guest rooms have been salvaged from demolished opera houses. Their attempt to claim their baby is both helped and hampered by the people they encounter: an ancient, flamboyant chanteuse, a debauched businessman, an enigmatic faith healer, and a stoic bartender who dispenses an addictive, lichen-flavored schnapps. Nothing is as it seems in this mysterious, frozen world, and the longer the couple endure the punishing cold the less they seem to know about their marriage, themselves, and life itself. What Happens at Night is a "masterpiece" (Edmund White) poised on the cusp of reality, told by "an elegantly acute and mysteriously beguiling writer" (Richard Eder, The Boston Globe).

    In the face of his impending institutionalization, he continually reinvents himself to escape the legal and mental health authorities and to save himself from a life of incarceration. But running turns out to be costly. Vincent's clients in the L.A. underworld lose patience, the hospital evaluator may not be fooled by his story, and the only person in as much danger as himself is the woman who knows his real name.

    All he knows about solving mysteries comes from the reports he's filed for the illustrious detective Travis Sivart. When Sivart goes missing and his supervisor turns up murdered, Unwin is suddenly promoted to detective, a rank for which he lacks both the skills and the stomach. His only guidance comes from his new assistant, who would be perfect if she weren't so sleepy, and from the pithy yet profound Manual of Detection (think The Art of War as told to Damon Runyon). Unwin mounts his search for Sivart, but is soon framed for murder, pursued by goons and gunmen, and confounded by the infamous femme fatale Cleo Greenwood. Meanwhile, strange and troubling questions proliferate: why does the mummy at the Municipal Museum have modern-day dental work? Where have all the city's alarm clocks gone? Why is Unwin's copy of the manual missing Chapter 18? When he discovers that Sivart's greatest cases - including the Three Deaths of Colonel Baker and the Man Who Stole November 12th - were solved incorrectly, Unwin must enter the dreams of a murdered man and face a criminal mastermind bent on total control of a slumbering city. The Manual of Detection will draw comparison to every work of imaginative fiction that ever blew a reader's mind - from Carlos Ruiz Zafón to Jorge Luis Borges, from The Big Sleep to The Yiddish Policeman's Union. But, ultimately, it defies comparison; it is a brilliantly conceived, meticulously realized novel that will change what you think about how you think.

    A young jazz buff in Tokyo. A crooked British lawyer in Hong Kong. A disc jockey in Manhattan. A physicist in Ireland. An elderly woman running a tea shack in rural China. A cult-controlled terrorist in Okinawa. A musician in London. A transmigrating spirit in Mongolia. What is the common thread of coincidence or destiny that connects the lives of these nine souls in nine far-flung countries, stretching across the globe from east to west? What pattern do their linked fates form through time and space?A writer of pyrotechnic virtuosity and profound compassion, a mind to which nothing human is alien, David Mitchell spins genres, cultures, and ideas like gossamer threads around and through these nine linked stories. Many forces bind these lives, but at root all involve the same universal longing for connection and transcendence, an axis of commonality that leads in two directions—to creation and to destruction. In the end, as lives converge with a fearful symmetry, Ghostwritten comes full circle, to a point at which a familiar idea—that whether the planet is vast or small is merely a matter of perspective—strikes home with the force of a new revelation. It marks the debut novel of a writer with astonishing gifts.