But despite its masterly control, this startlingly modern tale is also a simmering, rebel cri de coeur unleashed by a writer who was herself unappreciated in her own time. The combination of these attributes make this edgy novella a moving and suspenseful homage to the power of literature itself.The Art of The Novella SeriesToo short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.

    Obsessed with 'making things good again', they spin the quiet terrors of family life into a fantastical frenzy that careens well and truly out of control. As A. M. Homes's incendiary novel unfolds, the Kodacolor hues of the American good life become nearly hallucinogenic: from a strange and hilarious encounter on the floor of the pantry with a Stepford-wife neighbour, to a house-cleaning team in space suits, to a hostage situation at the school. Homes lays bare the foundations of marriage and family life, and creates characters outrageously flawed, deeply human and entirely believable.

    Petersburg under the guidance and protection of his uncle, a government official. Such is the beginning of this "ordinary story". Alexander Aduyev, a "romantic three times over" (to quote Vissarion Belinsky) gradually sheds his idyllic notions and develops into a heartless and calculating climber.

    When the students' answers raise disturbing questions of their own, Ms. Witt knows there's more going on the school than the faculty wants to see. She soon learns about The Ten--the students at the top of the school's social hierarchy--as well as their connection to something called The Darkroom.Ms. Witt can't remain a passive observer. She finds the few girls who've started to question the school's "boys will be boys" attitude and incites a resistance that quickly becomes a movement. But just as it gains momentum, she also attracts the attention of an unknown enemy who knows a little too much about her--including what brought her to Stonebridge in the first place.Meanwhile, Gemma, a defiant senior, has been plotting her attack for years, waiting for the right moment. Shy loner Norman hates his role in the Darkroom, but can't find the courage to fight back until he makes an unlikely alliance. And then there's Finn Ford, an English teacher with a shady reputation who keeps one eye on his literary ambitions and one on Ms. Witt.As the school's secrets begin to trickle out, a boys-versus-girls skirmish turns into an all-out war, with deeply personal--and potentially fatal--consequences for everyone involved.

    Accepting a dream offer at the prestigious Manhattan law firm of Klasko & Fitch, she promises her sweet and supportive longtime boyfriend that the job won’t change her. Yet Alex is seduced by the firm’s money and energy . . . and by her cocksure male colleagues, who quickly take notice of the new girl. She’s never felt so confident and powerful—even the innuendo-laced banter with clients feels fun. In the firm’s most profitable and competitive division, Mergers and Acquisitions, Alex works around the clock, racking up billable hours and entertaining clients late into the evening. While the job is punishing, it has its perks, like a weekend trip to Miami, a ride in a client’s private jet, and more expense-account meals than she can count. But as her clients’ expectations and demands on her increase, and Alex finds herself magnetically drawn to a handsome coworker despite her loving relationship at home, she begins to question everything—including herself. She knows the corporate world isn’t black and white, and that to reach the top means playing by different rules. But who made those rules? And what if the system rigged so that women can’t win, anyway? When something happens that reveals the dark reality of the firm, Alex comes to understand the ways women like her are told—explicitly and implicitly—how they need to behave to succeed in the workplace. Now, she can no longer stand by silently—even if doing what’s right means putting everything on the line to expose the shocking truth.

    Alone and untethered, feeling lost in the country he had come to regard as home, Hans stumbles upon the vibrant New York subculture of cricket, where he revisits his lost childhood and, thanks to a friendship with a charismatic and charming Trinidadian named Chuck Ramkissoon, begins to reconnect with his life and his adopted country. Ramkissoon, a Gatsby-like figure who is part idealist and part operator, introduces Hans to an “other” New York populated by immigrants and strivers of every race and nationality. Hans is alternately seduced and instructed by Chuck’s particular brand of naivete and chutzpah--by his ability to hold fast to a sense of American and human possibility in which Hans has come to lose faith. Netherland gives us both a flawlessly drawn picture of a little-known New York and a story of much larger, and brilliantly achieved ambition: the grand strangeness and fading promise of 21st century America from an outsider’s vantage point, and the complicated relationship between the American dream and the particular dreamers. Most immediately, though, it is the story of one man--of a marriage foundering and recuperating in its mystery and ordinariness, of the shallows and depths of male friendship, of mourning and memory. Joseph O’Neill’s prose, in its conscientiousness and beauty, involves us utterly in the struggle for meaning that governs any single life.

    His first mate, Mr. Jukes, is the perfect contrast as an imaginative man prone to speaking in figurative language. Though they are opposites, MacWhirr and Jukes respect each other and run a tight ship, until the crew notices the barometer predicting a serve storm. Jukes and the crew suggest alternate paths to MacWhirr, but he is unconvinced. Since MacWhirr has not experienced the storm yet, he doesn't believe that it really can be much of a problem, and if they sailed around it, they would waste time. Jukes is shocked at the decision, but respects MacWhirr's conviction. They keep their course, setting sail to go directly through the storm. Though the crew objects, Jukes and MacWhirr are convinced they each made the right call, but disastrous outcomes are inevitable when facts are ignored. Now in the heart of a great typhoon, MacWhirr and Jukes must work together to save their crew. Facing tuberous winds, powerful waves, and the sea's worst moods, the combination of MacWhirr's rationalism and Jukes' imagination prove to be vital.Based off of events in Joseph Conrad's sea life, Typhoon is an allegorical work that explores consequences of making decisions without considering facts or other perspectives, while hailing the importance of tolerance and collaboration. With satirical characters and a thrilling setting, Typhoon is both thought-provoking and adventurous. First published in 1902, Joseph Conrad's has been reprinted in many publications, including literary magazines and literary collections. Typhoon depicts a story of high stakes and adventure with a uniquely observant narrative style, shouldering Conrad's stylistic legacy of masterful prose.Previously published among other literary works, this edition allows Joseph Conrad's Typhoon stand on its own. Now with a new, eye-catching cover design and printed in a modern, easy-to-read font, Typhoon is accessible for a contemporary audience. Even nearly one-hundred and twenty years later, Conrad's adventurous, allegorical work is still relevant and intriguing as it acknowledges the various personalities required for human success and survival.

    28 Days of Terror in a House Possessed by Evil SpiritsIn December 1975, the Lutz family moved into their dream home, the same home where Ronald DeFeo had murdered his parents, brothers and sisters just one year earlier.the psychic phenomena that followed created the most terrifying experience the Lutz family had ever encountered, forcing them to flee the house in 28 days, convinced that it was possessed by evil spirits.Their fantastic story, never before disclosed in full detail, makes for an unforgettable book with all the shocks and gripping suspense of The Exorcist, The Omen or Rosemary's Baby, but with one vital difference...the story is true--back cover

    Their resemblance to each other is uncanny, and they spend the next few hours talking and drinking - until at last John falls into a drunken stupor. It's to be his last carefree moment, for when he wakes, Jean has stolen his identity and disappeared. So the Englishman steps into the Frenchman's shoes, and faces a variety of perplexing roles - as owner of a chateau, director of a failing business, head of a fractious family, and master of nothing.Gripping and complex, The Scapegoat is a masterful exploration of doubling and identity, and of the dark side of the self.

    From local bars to train yards to prison, it's the story of two young men, bound to the town by family, responsibility, inertia, and the beauty around them, who dream of a future beyond the factories and abandoned homes.Left alone to care for his aging father after his mother commits suicide and his sister escapes to Yale, Isaac English longs for a life beyond his hometown. When he finally sets out to leave for good, accompanied by his temperamental best friend, they are caught up in a terrible act of violence that changes their lives forever.Evoking John Steinbeck’s novels of restless lives during the Great Depression, American Rust delves into the contemporary American heartland at a moment of profound unrest and uncertainty about the future. It's a dark but lucid vision, a moving novel about the bleak realities that battle our desire for transcendence and the power of love and friendship to redeem us.

    Now, two years later, it is time for her to come to terms with marriage, career, family, parenthood, and Kevin's horrific rampage in a series of startlingly direct correspondences with her estranged husband, Franklin. Uneasy with the sacrifices and social demotion of motherhood from the start, Eva fears that her alarming dislike for her own son may be responsible for driving him so nihilistically off the rails.

    fogIt's been awhile since Doc Sportello has seen his ex-girlfriend, Shasta Fay. Suddenly out of nowhere she shows up with a story about a plot to kidnap a billionaire land developer whom she just happens to be in love with. Easy for her to say. It's the tail end of the psychedelic sixties in L.A., and Doc knows that "love" is another of those words going around at the moment, like "trip" or "groovy," except that this one usually leads to trouble. Despite which he soon finds himself drawn into a bizarre tangle of motives and passions whose cast of characters includes surfers, hustlers, dopers and rockers, a murderous loan shark, a tenor sax player working undercover, an ex-con with a swastika tattoo and a fondness for Ethel Merman, and a mysterious entity known as the Golden Fang, which may only be a tax dodge set up by some dodgy dentists.In this lively yarn, Thomas Pynchon, working in an unaccustomed genre, provides a classic illustration of the principle that if you can remember the sixties, you weren't there . . . or . . . if you were there, then you . . . or, wait, is it . . .hang on. . .what

    With its sly and uproarious humor and a heart that embraces humanity's follies as well as its triumphs, Nobody's Fool is storytelling at its most generous.

    Two previous expeditions to investigate its secrets met with disaster, the participants destroyed by murder, suicide or insanity. Now a new investigation has been mounted - four strangers, each with his or her own reason for daring the unknown torments and temptations of the mansion...

    Reviewers have called his fiction “ingenious” (USA Today) and “compulsively readable” (Memphis Commercial Appeal). His narrative power and flair for characterization have been compared to the likes of Harper Lee, Flannery O'Connor, Elmore Leonard, and Cormac McCarthy. Now the Edgar Award-winning author returns with his most accomplished and resonant novel so far—an atmospheric drama set in rural Mississippi. In the late 1970s, Larry Ott and Silas "32" Jones were boyhood pals. Their worlds were as different as night and day: Larry, the child of lower-middle-class white parents, and Silas, the son of a poor, single black mother. Yet for a few months the boys stepped outside of their circumstances and shared a special bond. But then tragedy struck: Larry took a girl on a date to a drive-in movie, and she was never heard from again. She was never found and Larry never confessed, but all eyes rested on him as the culprit. The incident shook the county and perhaps Silas most of all. His friendship with Larry was broken, and then Silas left town.More than twenty years have passed. Larry, a mechanic, lives a solitary existence, never able to rise above the whispers of suspicion. Silas has returned as a constable. He and Larry have no reason to cross paths until another girl disappears and Larry is blamed again. And now the two men who once called each other friend are forced to confront the past they've buried and ignored for decades.