Now, with his third and most ambitious novel, Aciman delivers an elegant and powerful tale of the wages of assimilation—a moving story of an immigrant’s remembered youth and the nearly forgotten costs and sacrifices of becoming an American.It’s the fall of 1977, and amid the lovely, leafy streets of Cambridge a young Harvard graduate student, a Jew from Egypt, longs more than anything to become an assimilated American and a professor of literature. He spends his days in a pleasant blur of seventeenth-century fiction, but when he meets a brash, charismatic Arab cab driver in a Harvard Square café, everything changes.Nicknamed Kalashnikov—Kalaj for short—for his machine-gun vitriol, the cab driver roars into the student’s life with his denunciations of the American obsession with "all things jumbo and ersatz"—Twinkies, monster television sets, all-you-can-eat buffets—and his outrageous declarations on love and the art of seduction. The student finds it hard to resist his new friend’s magnetism, and before long he begins to neglect his studies and live a double life: one in the rarified world of Harvard, the other as an exile with Kalaj on the streets of Cambridge. Together they carouse the bars and cafés around Harvard Square, trade intimate accounts of their love affairs, argue about the American dream, and skinny-dip in Walden Pond. But as final exams loom and Kalaj has his license revoked and is threatened with deportation, the student faces the decision of his life: whether to cling to his dream of New World assimilation or risk it all to defend his Old World friend.Harvard Square is a sexually charged and deeply American novel of identity and aspiration at odds. It is also an unforgettable, moving portrait of an unlikely friendship from one of the finest stylists of our time.

    Determined to seek out Tsalal, the remote island of pure and utter blackness that Poe describes, Jaynes convenes an all-black crew of six to follow Pym’s trail to the South Pole, armed with little but the firsthand account from which Poe derived his seafaring tale, a bag of bones, and a stash of Little Debbie snack cakes. Thus begins an epic journey by an unlikely band of adventurers under the permafrost of Antarctica, beneath the surface of American history, and behind one of literature’s great mysteries.

    In the process, Rombes found the freedom of fiction pushing him towards a new type of writing. For the reader, there is little we can know for sure, but this is what makes the book so exciting."—Irish Times"I very much enjoyed this weird, disturbing, sometimes effed-up novel about strange films, lost films, and the fragile faith in the difference between our fictions and our realities."—Jeff VanderMeer, Electric Literature"Kafka directed by David Lynch doesn’t even come close. It is the most hauntingly original book I’ve read in a very long time. Nicholas Rombes' The Absolution of Roberto Acestes Laing is a strong contender for novel of the year."—3:AM Magazine"Excellent and nightmarish... Rombes’s novel is a love letter to this art of misremembering: these “destroyed films” become as real as any film playing in a theater near you."—Paris Review Daily"Like a cross between Paul Auster's The Book of Illusions and Janice Lee's Damnation, The Absolution of Roberto Acestes Laing is at once smart and slyly unsettling. It is expert at creating a quietly building sense of dread while claiming to do something as straightforward as describe lost films—like those conversations you have in which you realize only too late that what you actually talking about and what you think you are talking about are not the same thing at all. With Rombes, Two Dollar Radio deftly demonstrates why it is rapidly becoming the go-to press for innovative fiction."—Brian Evenson"This hallucinatory and terrifying secret history of film is so meticulously researched and gorgeously written that I wonder if, in fact, Nicholas Rombes has uncovered a lost trove of works by David Lynch, Orson Welles, Antonioni and Jodorowsky somewhere in the California desert. The Absolution of Roberto Acestes Laing is post-modern noir at its best: beautiful and nightmarish by turns. I read it late into the night and couldn't put it down."—Elizabeth Hand"Suffused with the best elements and obscure conspiracies of Bolaño, Ligotti and speculative fiction, Rombes' work gnaws away at the limits of what a novel looks like. Through the writing of films that never existed, it finds a space at once eerily familiar and entirely of its own."—Evan Calder WilliamsIn the mid-'90s a rare-film librarian at a state university in Pennsylvania mysteriously burned his entire stockpile of film canisters and disappeared. Roberto Acestes Laing was highly regarded by acclaimed directors around the globe for his keen eye, appreciation for eccentricity, and creativity in interpretation.Unsure at first whether Laing is a pseudonym or some sort of Hollywood boogeyman, a journalist manages to track the forgotten man down to a motel on the fringe of the Wisconsin wilds. Laing agrees to speak with the journalist, but only through the lens of the cinema. What ensues is an atmospheric, cryptic extrapolation of movies and how they intertwine with life, and the forgotten films that curse the lost librarian still.Nicholas Rombes teaches in Detroit, Michigan. He is author of Ramones from the 33 1/3 series and the book 10/40/70. His writing has appeared in the Believer, Filmmaker Magazine, the Los Angeles Review of Books, n+1, and the Rumpus.

    He's having a hard time getting started because his career is floundering, his girlfriend Roz has recently left him, and he is thinking about the great poets throughout history who have suffered far worse and deserve to feel sorry for themselves. He has also promised to reveal many wonderful secrets and tips and tricks about poetry, and it looks like the introduction will be a little longer than he'd thought. What unfolds is a wholly entertaining and beguiling love story about poetry: from Tennyson, Swinburne, and Yeats to the moderns (Roethke, Bogan, Merwin) to the staff of The New Yorker, what Paul reveals is astonishing and makes one realize how incredibly important poetry is to our lives. At the same time, Paul barely manages to realize all of this himself, and the result is a tenderly romantic, hilarious, and inspired novel.

    The satire is broad, and uses southern culture cliches but is often very funny. Some of the names of the girls at the school, for example, are Mimsy Borogoves, Barbara Celarent, and Pengwynn Custiss.The story is said to be based on Theroux's years of teaching at Longwood University, and places described in the book are easily recognized buildings on the campus.[citation needed]

    Steep-banked, fast-moving, it offers the promise of fine fishing, and of something more, a possibility too fantastic to be true. When Abe and Dan, two widowers who have found solace in each other's company and a shared passion for fishing, hear rumors of the Creek, and what might be found there, the remedy to both their losses, they dismiss it as just another fish story. Soon, though, the men find themselves drawn into a tale as deep and old as the Reservoir. It's a tale of dark pacts, of long-buried secrets, and of a mysterious figure known as Der Fisher: the Fisherman. It will bring Abe and Dan face to face with all that they have lost, and with the price they must pay to regain it.

    Then open up Young Americans, seems obvious what Jordan Castro is doing is revolutionary, he expressing emotions through poetry that have never been done before. The style, the way the subject matter is portrayed, even the meter, are new." - Noah Cicero (author of The Human War, The Insurgent, and more)“If you are a person who doesn’t really know what they are doing and you would like to read about another person who doesn’t really know what they are doing either, I recommend reading this poetry book. I enjoyed reading these poems. Or something.” - Chris Killen (author of The Bird Room)“I read these poems three times in one night, then put the duvet over my head and held my knees for a while. It’s good when something makes sense. I really really liked these poems.” - Ben Brooks (author of Grow Up)

    Twenty-six-year-old Cedar Hawk Songmaker, adopted daughter of a pair of Minneapolis liberals, is as disturbed and uncertain as the rest of America around her. But for Cedar, this change is profound and deeply personal. She is four months pregnant.Though she wants to tell the adoptive parents who raised her from infancy, Cedar first feels compelled to find her birth mother, Mary Potts, an Ojibwe to understand both her and her baby’s origins. As Cedar goes back to her own biological beginnings, society around her begins to disintegrate, fueled by a swelling panic about the end of humanity.

    And if the moment does pass, it never goes that far. It stands in the distance, ready for whenever you want it back. Sometimes it's even there when you thought you were searching for something else, like an escape route, or your lover's face.How does one talk about love? Do we even have the right words to describe something that can be both utterly mundane and completely transcendent, pulling us out of our everyday lives and making us feel a part of something greater than ourselves? Taking a unique approach to this problem, the nameless narrator of David Levithan's The Lover's Dictionary has constructed the story of his relationship as a dictionary. Through these short entries, he provides an intimate window into the great events and quotidian trifles of being within a couple, giving us an indelible and deeply moving portrait of love in our time.

    Translated now for the first time in a new bilingual edition with an introduction by translator Peter Smith and an afterword by Vanessa Place, BABYFUCKER belongs in the canon of twentieth-century provocations that includes Bataille's The Story of the Eye, Delany's Hogg, and Cooper's Frisk. For BABYFUCKER is, as Dennis Cooper says: "a stunning, exquisite, perfect, and difficult little benchmark of a novel that makes literature that predates it seem deprived."Fiction. Bilingual Edition. Translated from the German by Peter Smith.

    More than a tale of possession, the novel probes disturbing depths of guilt, paranoia, and sexual obsession with an unsparing detachment.

    M. Homes has been among the boldest and most original voices of her generation, acclaimed for the psychological accuracy and unnerving emotional intensity of her storytelling. Her keen ability to explore how extraordinary the ordinary can be is at the heart of her touching and funny new novel, her first in six years. Richard Novak is a modern-day Everyman, a middle-aged divorcé trading stocks out of his home. He has done such a good job getting his life under control that he needs no one- except his trainer, nutritionist, and housekeeper. He is functionally dead and doesn't even notice until two incidents-an attack of intense pain that lands him in the emergency room, and the discovery of an expanding sinkhole outside his house-conspire to hurl him back into the world. On his way home from the hospital, Richard forms the first of many new relationships: He meets Anhil, the doughnut shop owner, an immigrant who dreams big. He finds a weeping housewife in the produce section of the supermarket, helps save a horse that has fallen into the sinkhole, daringly rescues a woman from the trunk of her kidnapper's car, and, after the sinkhole claims his house and he has to relocate to a Malibu rental, he befriends a reluctant counterculture icon. In the end, Richard is also brought back in closer touch with his family-his aging parents, his brilliant brother, the beloved ex-wife whom he still desires, and finally, before the story's breathtaking finale, with his estranged son Ben. The promised land of Los Angeles-a surreal city of earthquakes, wildfires, mudslides, and feral Chihuahuas-is also very much a character in This Book Will Save Your Life. A vivid, revealing novel about compassion, transformation, and what can happen if you are willing to lose yourself and open up to the world around you, it should significantly broaden Homes's already substantial audience.

    . . . It was no ordinary murder. Though the torture and abuse that killed him were real, Andy Gage's death wasn't. Only his soul actually died, and when it died, it broke in pieces. Then the pieces became souls in their own right, coinheritors of Andy Gage's life. . . .While Andy deals with the outside world, more than a hundred other souls share an imaginary house inside Andy's head, struggling to maintain an orderly coexistence: Aaron, the father figure; Adam, the mischievous teenager; Jake, the frightened little boy; Aunt Sam, the artist; Seferis, the defender; and Gideon, who wants to get rid of Andy and the others and run things on his own.Andy's new coworker, Penny Driver, is also a multiple personality, a fact that Penny is only partially aware of. When several of Penny's other souls ask Andy for help, Andy reluctantly agrees, setting in motion a chain of events that threatens to destroy the stability of the house. Now Andy and Penny must work together to uncover a terrible secret that Andy has been keeping . . . from himself.

    Here is Cheryl, a tightly-wound, vulnerable woman who lives alone, with a perpetual lump in her throat. She is haunted by a baby boy she met when she was six, who sometimes recurs as other people's babies. Cheryl is also obsessed with Phillip, a philandering board member at the women's self-defense non-profit where she works. She believes they've been making love for many lifetimes, though they have yet to consummate in this one. When Cheryl's bosses ask if their twenty-one-year-old daughter Clee can move into her house for a little while, Cheryl's eccentrically-ordered world explodes. And yet it is Clee--the selfish, cruel blond bombshell--who bullies Cheryl into reality and, unexpectedly, provides her the love of a lifetime. Tender, gripping, slyly hilarious, infused with raging sexual fantasies and fierce maternal love, Miranda July's first novel confirms her as a spectacularly original, iconic and important voice today, and a writer for all time. The First Bad Man is dazzling, disorienting, and unforgettable.

    In Ninety-Nine Stories of God, she takes on one of mankind’s most confounding preoccupations: the Supreme Being.This series of short, fictional vignettes explores our day-to-day interactions with an ever-elusive and arbitrary God. It’s the Book of Common Prayer as seen through a looking glass—a powerfully vivid collection of seemingly random life moments. The figures that haunt these stories range from Kafka (talking to a fish) to the Aztecs, Tolstoy to Abraham and Sarah, O. J. Simpson to a pack of wolves. Most of Williams’s characters, however, are like the rest of us: anonymous strivers and bumblers who brush up against God in the least expected places or go searching for Him when He’s standing right there. The Lord shows up at a hot-dog-eating contest, a demolition derby, a formal gala, and a drugstore, where he’s in line to get a shingles vaccination. At turns comic and yearning, lyric and aphoristic, Ninety-Nine Stories of God serves as a pure distillation of one of our great artists.