I am eighteen years old, and I live with my sister Constance. I have often thought that with any luck at all I could have been born a werewolf, because the two middle fingers on both my hands are the same length, but I have had to be content with what I had. I dislike washing myself, and dogs, and noise, I like my sister Constance, and Richard Plantagenet, and Amanita phalloides, the death-cap mushroom. Everyone else in my family is dead...

    They open up a whole world of experience and struggle that seemed to me, when I first read them years ago, absolutely absorbing, fascinating, and indispensable."--Alice Walker"Discovering Nella Larsen is like finding lost money with no name on it. One can enjoy it with delight and share it without guilt."  --Maya Angelou"A hugely influential and insighful writer." --The New York Times"Larsen's heroines are complex, restless, figures, whose hungers and frustrations will haunt every sensitive reader. Quicksand and Passing are slender novels with huge themes." -- Sarah Waters"A tantalizing mix of moral fable and sensuous colorful narrative, exploring female sexuality and racial solidarity."-Women's Studies International ForumNella Larsen's novels Quicksand (1928) and Passing (1929) document the historical realities of Harlem in the 1920s and shed a bright light on the social world of the black bourgeoisie. The novels' greatest appeal and achievement, however, is not sociological, but psychological. As noted in the editor's comprehensive introduction, Larsen takes the theme of psychic dualism, so popular in Harlem Renaissance fiction, to a higher and more complex level, displaying a sophisticated understanding and penetrating analysis of black female psychology.

    The story of Robert Kincaid, the photographer and free spirit searching for the covered bridges of Madison County, and Francesca Johnson, the farm wife waiting for the fulfillment of a girlhood dream, THE BRIDGES OF MADISON COUNTY gives voice to the longings of men and women everywhere-and shows us what it is to love and be loved so intensely that life is never the same again.

    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.

    This narrative primarily follows George Darrow and Anna Leath, a young gentleman and a widowed lady who plan to marry. Both of them experience doubts about their union, with surprising outcomes. Darrow has a brief liaison with the delicate, generous Sophy Viner, a kind woman of the working class. She later meets Anna's stepson Owen Leath, who wishes to upset social conventions and marry her. When Anna's discovers the intimate history of Darrow and Sophy, she worries about her stepson's affections and feels concerned about the alliance she herself is about to create. Wharton's talent for balancing emotional turmoil and all the social manners of her time is blended into this philosophical work that explores the metaphorical reefs in the hearts of women.

    It reveals the purpose of the moon, explains the difference between criminals and outlaws, examines the conflict between social activism and romantic individualism, and paints a portrait of contemporary society that includes powerful Arabs, exiled royalty, and pregnant cheerleaders. It also deals with the problem of redheads.

    Christopher Newman, a 'self-made' American millionaire in France, falls in love with the beautiful aristocratic Claire de Bellegarde. Her family, however, taken aback by his brash American manner, rejects his proposal of marriage. When Newman discovers a guilty secret in the Bellegardes' past, he confronts a moral dilemma: Should he expose them and thus gain his revenge? James's masterly early work is at once a social comedy, a melodramatic romance and a realistic novel of manners.

    Here was a disgusted man. His name was Svevo Bandini, and he lived three blocks down that street. He was cold and there were holes in his shoes. That morning he had patched the holes on the inside with pieces of cardboard from a macaroni box. The macaroni in that box was not paid for. He had thought of that as he placed the cardboard inside his shoes.

    Bridge, an inspired novel set in the years around World War II that testified to the sapping ennui of an unexamined suburban life. India Bridge, the title character, has three children and a meticulous workaholic husband. She defends her dainty, untouched guest towels from son Douglas, who has the gall to dry his hands on one, and earnestly attempts to control her daughters with pronouncements such as "Now see here, young lady ... in the morning one doesn't wear earrings that dangle." Though her life is increasingly filled with leisure and plenty, she can't shuffle off vague feelings of dissatisfaction, confusion, and futility. Evan S. Connell, who also wrote the twinned novel Mr. Bridge, builds a world with tiny brushstrokes and short, telling vignettes.

    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.

    Powers's comic masterpiece is Father Urban, a man of the cloth who is also a man of the world. Charming, with an expansive vision of the spiritual life and a high tolerance for moral ambiguity, Urban enjoys a national reputation as a speaker on the religious circuit and has big plans for the future. But then the provincial head of his dowdy religious order banishes him to a retreat house in the Minnesota hinterlands. Father Urban soon bounces back, carrying God's word with undaunted enthusiasm through the golf courses, fishing lodges, and backyard barbecues of his new turf. Yet even as he triumphs his tribulations mount, and in the end his greatest success proves a setback from which he cannot recover.First published in 1962, Morte D'Urban has been praised by writers as various as Gore Vidal, William Gass, Mary Gordon, and Philip Roth. This beautifully observed, often hilarious tale of a most unlikely Knight of Faith is among the finest achievements of an author whose singular vision assures him a permanent place in American literature.

    The tale revolves around three characters: two humans and one duck. Jim Dodge is the author of "Not Fade Away" and "Stone Junction".

    It also began Coover's now-trademark riffs on fairy tales and bedtime stories. In these riotously word-drunk fictional romps, two children follow an old man into the woods, trailing bread crumbs behind and edging helplessly toward a sinister end that never comes; a husband walks toward the bed where his wife awaits his caresses, but by the time he arrives she's been dead for three weeks and detectives are pounding down the door; a teenaged babysitter's evening becomes a kaleidoscope of dangerous erotic fantasies-her employer's, her boyfriend's, her own; an aging, humble carpenter marries a beautiful but frigid woman, and after he's waited weeks to consummate their union she announces that God has made her pregnant. Now available in a Grove paperback, Pricksongs & Descants is a cornerstone of Robert Coover's remarkable career and a brilliant work by a major American writer.

    For the rest of his life he, too, will be trying to fly. With this brilliantly imagined novel, Toni Morrison transfigures the coming-of-age story as audaciously as Saul Bellow or Gabriel García Márquez. As she follows Milkman from his rustbelt city to the place of his family’s origins, Morrison introduces an entire cast of strivers and seeresses, liars and assassins, the inhabitants of a fully realized black world.

    But when they go beyond the boundaries of normal morality they slip gradually from obsession to corruption and betrayal, and at last—inexorably—into evil.