Symposium stars a perfectly evil young woman (a classic sweet-faced hair-raising Sparkian horror) who has married rich Hilda's son by hook or by crook, hooking him at the fruit counter of Harrod's. There is also spiritual conversation and the Bordeaux is superb. "The prevailing mood is urbane: the wine is poured, the talk continues, and all the time the ice on which the protagonists' world rests is being thinned from beneath, by boiling emotions and ugly motives. No living writer handles the tension between formality of expression and subversiveness of thought more elegantly." (The Independent on Sunday).

    Among the self-satisfied group were: Mrs Merriam, the sanctimonious shrew who was turning her husband into a nonentity and her daughter into a bigoted spinster; Mr Roberts, who found relief from the street's unending propriety in shoddy side-street amours; Miss Fielding, who considered it more important to boil an egg properly than to save a disturbed girl from destruction. It took the gruesome act of a desperate boy who lived among them to pierce the shell of their complacency and force them to see their own ugliness.

    Of course he has; he's a mystery-script writer. But when Alicia takes a long, unannounced vacation, Sydney seizes the opportunity to perfect his artistic method.With her characteristic precision and unrivaled sensitivity to the inner tremblings of human character, Patricia Highsmith shockingly portrays Sydney's descent into the treacherous world of his own fictions. Once again Highsmith proves herself to be a master at depicting the unsettling forces that boil beneath the surface of everyday life.

    A powerful and passionate tale is set on a southern army post --a human hell inhabited by a sexually disturbed officer, his animalistic wife, her lover, and the driven young private who forces the drama to its climax...

    An inspired fusion of fact and invention, this beautifully realized, hard-bitten, lyrical book is not only Elizabeth Hardwick's finest fiction but one of the outstanding contributions to American literature of the last fifty years.

    Cain's first novel - the subject of an obscenity trial in Boston and the inspiration for Camus's The Stranger - is the fever-pitched tale of a drifter who stumbles into a job, into an erotic obsession, and into a murder.

    The theological-scientific debate that ensues, and the wicked strategies that Roger employs to disembarrass Dale of his faith, form the substance of this novel—these and the current of erotic attraction that pulls Esther, Roger’s much younger wife, away from him and into Dale’s bed. The novel, a majestic allegory of faith and reason, ends also as a black comedy of revenge, for this is Roger’s version—Roger Chillingworth’s side of the triangle described by Hawthorne’s Scarlet Letter—made new for a disbelieving age.

    A well-digger and policeman in a bleak New Hampshire town, he is a former high-school star gone to beer fat, a loner with a mean streak. It is a mark of Russell Banks' artistry and understanding that Wade comes to loom in one's mind as a blue-collar American Everyman afflicted by the dark secret of the macho tradition. Told by his articulate, equally scarred younger brother, Wade's story becomes as spellbinding and inexorable as a fuse burning its way to the dynamite.

    He is also a psychopath. Taking us to head-on collision with America's greatest dream—and its worst nightmare—American Psycho is bleak, bitter, black comedy about a world we all recognise but do not wish to confront.

    Scott Fitzgerald is known for his novels, but in his lifetime, his fame stemmed from his prolific achievement as one of America's most gifted story writers. "The Curious Case of Benjamin Button," a witty and fantastical satire about aging, is one of his most memorable stories. In 1860 Benjamin Button is born an old man and mysteriously begins aging backward. At the beginning of his life he is withered and worn, but as he continues to grow younger he embraces life -- he goes to war, runs a business, falls in love, has children, goes to college and prep school, and, as his mind begins to devolve, he attends kindergarten and eventually returns to the care of his nurse. This strange and haunting story embodies the sharp social insight that has made Fitzgerald one of the great voices in the history of American literature.

    Permanently disfigured by a tragic military accident, he's struggling to find satisfaction from life as a rewrite man for Pacific City's Courier. Shame has led him to isolate himself from closest friends and even his estranged, still faithfully devoted wife, Ellen. Only the bottle keeps him company.But now Ellen has returned to Pacific City, and she's ready to do whatever it takes to get Brown back. Even if it means exposing his deepest secret ... a painful truth Brown would do anything to stop from coming to light. He'd kill a whole lot of people just to keep this one thing quiet--and soon enough, the bodies just happen to start piling up around him...THE NOTHING MAN is Thompson at his most psychologically astute, in a deeply suspenseful and tragic portrait of one man's journey through the dark side of the Postwar Boom.

    But the people who came to be called “survivors” could not avoid their memories. Sol Nazerman, protagonist of Edward Lewis Wallant’s The Pawnbroker, is one such sufferer.At 45, Nazerman, who survived Bergen-Belsen although his wife and children did not, runs a Harlem pawnshop. But the operation is only a front for a gangster who pays Nazerman a comfortable salary for his services. Nazerman’s dreams are haunted by visions of his past tortures. (Dramatizations of these scenes in Sidney Lumet’s 1964 film version are famous for being the first time the extermination camps were depicted in a Hollywood movie.)Remarkable for its attempts to dramatize the aftereffects of the Holocaust, The Pawnbroker is likewise valuable as an exploration of the fraught relationships between Jews and other American minority groups. That this novel, a National Book Award finalist, manages to be both funny and weighty, makes it all the more tragic that its talented author died, at age 36, the year after its publication. The book sold more than 500,000 copies soon after it was published.

    She is beautiful and impressionable and ardent, and these qualities attract the attention of Clement Sebastian, an aging but charismatic singer who exercises all the tragic, sinister fascination of a man who has renounced life only to turn back to seize it one last time. Out of their doomed love affair—and Lucy's fatal estrangement from her origins—Willa Cather creates a novel that is as achingly lovely as a Schubert sonata.

    Surfacing is a work permeated with an aura of suspense, complex with layered meanings, and written in brilliant, diamond-sharp prose. Here is a rich mine of ideas from an extraordinary writer about contemporary life and nature, families and marriage, and about women fragmented... and becoming whole.

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.