Dr. Ray--a womanizer, small-town drunk, vigilante, poet, adoring husband--is a man trying to make sense of life in the twentieth century. In flight from the death he dealt flying over Vietnam, Dr. Ray struggles with those bound to him by need, sickness, lunacy, by blood and by love.

    Written as a play in story form, this novel traces the story of a man ignorant of his own sterility, a wife who commits adultery to give her husband a child, the father of that child, and the outsider whose actions affect them all.

    His is the tale of a disordered pilgrimage to H. Roivas (Heavenly Savior) in which the deranged responses of individuals point up the outer madness from which they derive in a more imaginative way that social protest generally allows.Like Camus, Kenneth Patchen is anti-cool, anti-hip, anti-beat.

    Dissatisfied with a life that has brought fame and fortune, he suddenly decides he no longer wants to be a commodity. He leaves his band mid-tour and holes up in a dingy, unfurnished apartment in Great Jones Street. Unfortunately, his disappearing act only succeeds in inflaming interest. As faithful fans await messages, Bucky encounters every sort of roiling force he is trying to escape.DeLillo’s third novel is more than a musical satire: it probes the rights of the individual, foreshadows the struggle of the artist within a capitalist world and delivers a scathing portrait of our culture’s obsession with the lives of the few.

    Ransacking his Paris flat, a group of his faithful companions trawl through his diary for any indication, for any faint hint, as to his location.

    Rejecting the violence and hate of the old gang at the Forgotten Works, they lead gentle lives in watermelon sugar. In this book, Richard Brautigan discovers and expresses the mood of the counterculture generation.

    It remains as fresh as when it was first published.

    What happens? He takes driving lessons, goes grocery shopping, spends endless hours with an adorable employee of the driving school he attends. And though he is aloof, though caught up in his own actions and in the movement of his own thoughts--he somehow emerges as surprisingly insightful and also very funny. In Toussaint's touching novel, we come to know this character intimately and yet know almost nothing about him. These two extremes, existing together, are at the heart of Toussaint's remarkable style.

    Largely self-taught and altogether indifferent to worldly success, Walser wrote a range of short stories, essays and four novels, of which Jakob von Gunten is widely recognized as the finest. It tells the story of a seventeen-year-old runaway from an old family who enrolls in a school for servants. The Institute, run by the domineering Herr Benjamenta and his beautiful but ailing sister, is a deeply mysterious place: the faculty lies asleep in a single room. The students though subject to fierce discipline, come and go at will. Jakob, an irrepressibly subversive presence, keeps a journal in which he records his quirky impressions of the school as well as his own quickly changing enthusiasms and uncertainties, deliberations and dreams. And in the end, as the Institute itself dissolves around him like a dream, he steps out boldly to explore still-unimagined worlds.

    The shows have a life of their own and become the arena of shared experience. And in Curtis White's hands, they become a son's projections of what he wants for himself and his father through characters in "Combat, " "Highway Patrol, " "Bonanza, " and other television shows (and one movie) from the 1950s and '60s. Comic in many ways, "Memories" is finally a sad lament of father-son relationship that is painful and tortured, displayed against a background of what they most shared, the watching of television, the universal American experience.

    At a party, the narrator, a screenwriter, rescues a young woman who staggers with drunken determination into the Pacific. He is living far from his wife in New York and long ago shed any illusions about the value of his work. He just wants to be left alone. And yet without really meaning to, he gets involved with the young woman, who has, it seems, no illusions about love, especially with married men. She’s a survivor, even if her beauty is a little battered from years of not quite making it in the pictures. She’s just like him, he thinks, and as their casual relationship takes on an increasingly troubled and destructive intensity, it seems that might just be true, only not in the way he supposes.

    With compassion, wit, and what appears to be candor she seeks to determine what she actually knows about herself and her past, but we begin to suspect, along with her, that given the elusiveness of memory and understanding, any tale retrieved from the past must be fiction.

    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.

    Guy Grand is an eccentric billionaire — the last of the big spenders — determined to create disorder in the material world and willing to spare no expense to do it. Leading a life full of practical jokes and madcap schemes, his ultimate goal is to prove his theory that there is nothing so degrading or so distasteful that someone won't do it for money. In Guy Grand's world, everyone has a price, and he is all too willing to pay it. A satire of America's obsession with bigness, toughness, money, TV, guns, and sex, The Magic Christian is a hilarious and wickedly original novel from a true comic genius.

    But when an insignificant traffic delay upsets this sacred schedule, and on the day of Oloop's engagement party, the clock begins ticking down towards a catastrophe that no amount of planning will avert. A playful and unpredictable masterpiece of Argentinean literature, raising comparisons to Ulysses and serving as a primary inspiration to authors such as Julio Cortázar and Alfonso Reyes, Op Oloop is the first novel by lawyer, Hellenist, boxing referee, and decagenarian Juan Filloy (1894-2000) to be translated into English.