Mocked and feared by her classmates, Iona is only good enough for Jay when they're in the backseat of Willy's Chevy - anywhere else she's strictly a girl from the Flats, someone who smells of the cows and the fields. She's dirt poor - there is dirt under her fingernails, in her hair, and on her body. It's the kind of dirt that doesn't wash off, that clogs the spirit and the mind: "You could stay in town all night, but the Kila Flats were close as your own breath." Iona's world is one of brutality, a world stripped of affection and comfort, which offers no relief to a young girl who sees and feels too much. Yet she doesn't know that Willy and Jay inhabit a world as cruel as her own - Jay, beautiful and graceful, a brilliant diver destined for college greatness and now gone horribly astray, and Willy, bound by a morality which imprisons and threatens to strangle him. A novel of almost Faulknerian lyricism, Iona Moon is a story about distances: the distance between the potato fans of the Kila Flats and the town of White Falls, the distance between men and women, children and parents, man and God, the living and the dead, and how those distances are bridged by the desire to love. Sensual, haunting, tender, and ultimately inspiring, Iona Moon is a vision of the struggle to live humanely, filled with the voices that constantly pull us forward - and back - into love.

    "Hysterically funny, beautifully written...an almost hypnotic portrait of unforgettable people in a strange and magnificent city".--Anne tyler, The New Republic.

    But the best story is Kashner himself -- the coming-of-age of a young man in the chaotic world of the very idols he hoped to emulate.This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.

    But after Pearl Harbor, everything changes. In Ella Leffland’s beautifully wrought story of a young girl’s coming of age during WWII, the fighting in Europe looms behind the tranquility of family, friends, and neighbors—until the darkness of the war becomes suddenly, irrevocably real.

    1932) has become known as the principal voice of American countercultural fiction. His cult celebrity was further solidified by the success of Even Cowgirls Get the Blues (1976) and Still Life With Woodpecker (1980). Robbins's mix of vivid language, ribald humor, philosophical musings, controversial commentary on religion and sexuality, and concentration on female protagonists and feminine consciousness has marked almost all of his fiction, as well as his short writings.Despite his undeserved reputation as 1960s hippie icon, all of Robbins's work remains popular and in print, and his later novels--including Jitterbug Perfume (1984), Skinny Legs and All (1990), Half Asleep in Frog Pajamas (1994), Fierce Invalids Home From Hot Climates(2000), Villa Incognito (2003), and B Is for Beer (2009)--engage thoroughly with current politics, mores, and trends.Conversations with Tom Robbins brings together more than twenty interviews with the acclaimed author, from the mid-1970s to the present. Throughout the volume, Robbins discusses his working methods, his fusion of Eastern and Western philosophical traditions, the need for wit and humor in serious fiction, and the ways living in the Pacific Northwest has fueled his work.

    Now, writing with her distinctive intelligence, wit, and insight, she chronicles her rite of passage from intern to doctor.rtising.

    His picaresque travels are filled with beguiling and hilarious characters: nineteenth-century author Ambrose Bierce; an unknown group of famous poets; a twenty-first-century treasure hunter in the Gulf of Mexico; an ex-Nazi mechanic shepherding an old Mexican road race; a stenographer who records every passing moment; and various incarnations of the trickster devil.As bold, ambitious, and funny as it is unconventional, Nothing Happened and Then It Did is a deep and lasting pleasure.

    More information to be announced soon on this forthcoming title from Penguin USA

    Nearly a century after its passing, the storm remains the standard against which the ferocity and destructiveness of all others are measured. Twothirds of Galveston's buildings were washed away at a cost that was never fully calculated. More than 6,000 people were killed. And in the collective memory of a region where depredations by wind and water are accepted as part of life, the weekend of September 8, 1900, is the ultimate example of the terror and violence a hurricane can bring. John Edward Weems's account of the Galveston hurricane was written more than six decades ago, when many of the survivors were still living and available for interviews. This book is based on numerous conversations and correspondence with these survivors as well as a careful examination of contemporary documents and news reports. In direct, economical prose Weems recreates that fateful weekend as experienced by those who actually were there. The result is a narrative that develops a pace and force as irresistible as the hurricane that inspired it, and a work that is a model of historical reportage.

    Confused by anguish, bewildered by her mother's absence, and mystified by the notion of death itself, Via retells the day of her mother's death in minute detail, trying to discern the crack in the world through which her mother must have slipped. She takes us through the seemingly ordinary moments of her day, from a cold-cereal breakfast to math class, when she is called to the principal's office to hear the news. Every small event of the tragic day calls up earlier memories from Via's young life, resulting in a beautifully patterned portrait of a comfortable childhood guarded by a warm and loving mother. Via attempts to grasp "how something so big could fit into such a little thing as a day."

    Helene, who is blind, does the driving. Her sister, Ina, shows the way, and together they break free into the light they feared had gone out of their lives. They cross a landscape whose dangers are secondary to the perilous memories and secrets they share. Their goal-Los Angeles, home to Ina’s children-shimmers like a mirage on the horizon of their plans. Charles Dickinson has invested these two women with a remarkable spirit: In a vast and intricate weaving of truth and memory he has created two unforgettable sisters with the courage, the wit, and the tenacity to embark upon a journey that redefines for themselves and their families the kind of women they will be for the rest of their lives.

    Statesmen tinker with peace plans for the Middle East and generals worry about future wars there. Religious leaders stoke the violent passions of the devout while pilgrims flock to find God and archaeologists dig to find the origins of His revelations. All this goes on under the watchful eye of an army of reporters, observers, diplomatic envoys, and aid workers.Between the Mediterranean and the Jordan River, dreams and ideals collide with the reality of violent nationalist struggle, and God's name is invoked in defense of the jealousies of men. With the experienced journalist's eye for irony, anecdote, and telling detail, Anton La Guardia offers an intimate look into the Israelis as they come to terms with the "post-Zionist" demolition of national myths, and the Palestinians as they try to build their own state. A classic in the making, War Without End is the definitive book on Israel and her people.

    Now, appearing simultaneously with his first new novel in six years, Drury's debut is back in print.Welcome to Grouse County — a fictional Midwest that is at once familiar and amusingly eccentric — where a thief vacuums the church before stealing the chalice, a lonely woman paints her toenails in a drafty farmhouse, and a sleepless man watches his restless bride scatter their bills beneath the stars. At the heart of The End of Vandalism is an unforgettable love triangle set off by a crime: Sheriff Dan Norman arrests Tiny Darling for vandalizing an anti–vandalism dance and then marries the culprit's ex-wife Louise. So Tiny loses Louise, Louise loses her sense of self, and the three find themselves on an epic journey.At turns hilarious and heart-breaking, The End of Vandalism is a radiant novel about the beauty and ache of modern life.

    T. Bunker. Now eighty-three-years-old and dying, Bunker wants to tell his side of the story, the story of his affair with Estela, Andrés's mother. As a child Andrés knew Bunker as the "Captain of the Sleepers"--so called because he transported back to Vieques those who had died on the mainland but wished to be buried at home. But what really happened between Bunker and Estela, and between Estela and her one true love, a leader of the Puerto Rican Nationalist Movement? What did Andrés witness, and what were the real circumstances of his mother's mysterious death?Beautifully translated by Edith Grossman, Captain of the Sleepers is a startling tale of remembrance and reality, and Mayra Montero's finest book yet.

    First, there is the child Mallika, brimming with romantic fantasies and bemoaning the lack of passion in the lives of her mother, Padma, and her mother's contemporaries - women whom she nevertheless loves fiercely. Mallika renders her fantasies through a highly wrought imagination, re-creating for the reader the events that came to devastate her childhood. Then, we revisit the events Mallika has described as they are retold from the points of view of Padma and Padma's sister, mother and friends. The story that slowly emerges is not the same as the one Mallika told. For the world of these women is one where secrets grow like fungus, where guilt roots and ripens, where anger burns and smolders. Every one of them carries the burden of secrets that may or may not be known by the others - some secrets obvious, others subtler and more insidious - and that have for them become a way of life. And so they tell their stories, stories by no means as prosaic as the child Mallika believes. Layer after layer of concealing silence is relentlessly peeled off, till, at last, the truth behind the greatest secret of all is laid bare - the story of Padma's love.