In New York after college, Bobby moves in with Jonathan and his roommate, Clare, a veteran of the city's erotic wars. Bobby and Clare fall in love, scuttling the plans of Jonathan, who is gay, to father Clare's child. Then, when Clare and Bobby have a baby, the three move to a small house upstate to raise "their" child together and, with an odd friend, Alice, create a new kind of family. A Home at the End of the World masterfully depicts the charged, fragile relationships of urban life today.

    His home microbiology lab—the latest experiment in his lifelong attempt to find music in surprising patterns—has aroused the suspicions of Homeland Security. Panicked by the raid, Els turns fugitive and hatches a plan to transform this disastrous collision with the security state into an unforgettable work of art that will reawaken its audience to the sounds all around it.

    Both highly suspenseful and deeply moving, The Deep End of the Ocean imagines every mother's worst nightmare—the disappearance of a child—as it explores a family's struggle to endure, even against extraordinary odds. Filled with compassion, humor, and brilliant observations about the texture of real life, here is a story of rare power, one that will touch readers' hearts and make them celebrate the emotions that make us all one.

    But the people around Inez have made careers out of losing track. Her senator husband wants to forget the failure of his last bid for the presidency. Her husband's handler would like the press to forget that Inez's father is a murderer. And, in 1975, the year in which much of this bitterly funny novel is set, America is doing its best to lose track of its one-time client, the lethally hemorrhaging republic of South Vietnam.As conceived by Joan Didion, these personages and events constitute the terminal fallout of democracy, a fallout that also includes fact-finding junkets, senatorial groupies, the international arms market, and the Orwellian newspeak of the political class. Moving deftly from Honolulu to Jakarta, between romance, farce, and tragedy, Democracy is a tour de force from a writer who can dissect an entire society with a single phrase.

    He had a beautiful wife, three lovely children, a nice house...and all the mistresses he desired. He had it all -- all, that is, but happiness. Slocum was discontent. Inevitably, inexorably, his discontent deteriorated into desolation until...something happened. Something Happened is Joseph Heller's wonderfully inventive and controversial second novel satirizing business life and American culture. The story is told as if the reader was overhearing the patter of Bob Slocum's brain -- recording what is going on at the office, as well as his fantasies and memories that complete the story of his life. The result is a novel as original and memorable as his Catch-22.

    As they gather year after year, their stories, their wisdom, their lives, form the pattern from which all of us draw warmth and comfort for ourselves.A MAJOR MOTION PICTURE COMING OUT FALL 1995-- with Maya Angelou, Winona Ryder, and Rip Torn

    When Joel Litvinoff is felled by a stroke, his wife, Audrey, uncovers a secret that forces her to re-examine her ideas about their forty-year marriage. Joel’s children will soon have to come to terms with this unsettling discovery themselves, but for the time being, they are grappling with their own dilemmas. Rosa is being pressed to make a commitment to religion. Karla is falling in love with the owner of a newspaper concession and Lenny is back on drugs. In the course of battling their own demons and each other, every member of the family is called upon to re-examine long-held articles of faith and to decide what – if anything – they still believe in.

    At the center: a woman who calls herself Bride, whose stunning blue-black skin is only one element of her beauty, her boldness and confidence, her success in life; but which caused her light-skinned mother to deny her even the simplest forms of love until she told a lie that ruined the life of an innocent woman, a lie whose reverberations refuse to diminish ... Booker, the man Bride loves and loses, whose core of anger was born in the wake of the childhood murder of his beloved brother ... Rain, the mysterious white child, who finds in Bride the only person she can talk to about the abuse she's suffered at the hands of her prostitute mother ... and Sweetness, Bride's mother, who takes a lifetime to understand that "what you do to children matters. And they might never forget."

    With Ethan no longer a member of Long Island’s aristocratic class, his wife is restless, and his teenage children are hungry for the tantalizing material comforts he cannot provide. Then one day, in a moment of moral crisis, Ethan decides to take a holiday from his own scrupulous standards.Set in Steinbeck’s contemporary 1960 America, the novel explores the tenuous line between private and public honesty that today ranks it alongside his most acclaimed works of penetrating insight into the American condition. This edition features an introduction and notes by Steinbeck scholar Susan Shillinglaw.

    M. Forster, Dorothy Parker, H. L. Mencken, Lewis Mumford, Rebecca West, Sherwood Anderson, Malcolm Cowley, Alfred Kazin, Constance Rourke, and Mark Schorer.Main Street, the story of an idealistic young woman's attempts to reform her small town, brought Lewis immediate acclaim when it was published in 1920. It remains one of the essential texts of the American scene. Lewis Mumford observed: "In Main Street an American had at last written of our life with something of the intellectual rigor and critical detachment that had seemed so cruel and unjustified [in Charles Dickens and Matthew Arnold]. Young people had grown up in this environment, suffocated, stultified, helpless, but unable to find any reason for their spiritual discomfort. Mr. Lewis released them."Sinclair Lewis (1885-1951), was born in Sauk Centre, Minnesota and graduated from Yale in 1907. In 1930 he became the first American recipient of the Nobel Prize in Literature. Main Street (1920) was his first critical and commercial success. Lewis's other noted books include Babbitt (1922), Arrowsmith (1925), Elmer Gantry (1927), Dodsworth (1929), and It Can't Happen Here (1935).

    When a new highway threatens to bypass the town of Rossmore and cut through Whitethorn Woods, everyone has a passionate opinion about whether the town will benefit or suffer. But young Father Flynn is most concerned with the fate of St. Ann's Well, which is set at the edge of the woods and slated for destruction. People have been coming to St. Ann's for generations to share their dreams and fears, and speak their prayers. Some believe it to be a place of true spiritual power, demanding protection; others think it's a mere magnet for superstitions, easily sacrificed. Not knowing which faction to favor, Father Flynn listens to all those caught up in the conflict, and these are the voices we hear in the stories of "Whitethorn Woods"--men and women deciding between the traditions of the past and the promises of the future, ordinary people brought vividly to life by Binchy's generosity and empathy, and in the vivacity and surprise of her storytelling. Maeve Binchy is at the very top of her form in this irresistible tale.

    At the center of this outlandishly funny, fiercely intelligent novel is the bewitching heroine, Lenore Stonecipher Beadsman. The year is 1990 and the place is a slightly altered Cleveland, Ohio. Lenore’s great-grandmother has disappeared with twenty-five other inmates of the Shaker Heights Nursing Home. Her beau, and boss, Rick Vigorous, is insanely jealous, and her cockatiel, Vlad the Impaler, has suddenly started spouting a mixture of psycho-babble, Auden, and the King James Bible. Ingenious and entertaining, this debut from one of the most innovative writers of his generation brilliantly explores the paradoxes of language, storytelling, and reality.

    An Iranian girl escapes to America as a child, but her father stays behind. Over twenty years, as she transforms from confused immigrant to overachieving Westerner to sophisticated European transplant, daughter and father know each other only from their visits: four crucial visits over two decades, each in a different international city. The longer they are apart, the more their lives diverge, but also the more each comes to need the other's wisdom and, ultimately, rescue. Meanwhile, refugees of all nationalities are flowing into Europe under troubling conditions. Wanting to help, but also looking for a lost sense of home, our grown-up transplant finds herself quickly entranced by a world that is at once everything she has missed and nothing that she has ever known. Will her immersion in the lives of these new refugees allow her the grace to save her father? Refuge charts the deeply moving lifetime relationship between a father and a daughter, seen through the prism of global immigration. Beautifully written, full of insight, charm, and humor, the novel subtly exposes the parts of ourselves that get left behind in the wake of diaspora and ultimately asks: Must home always be a physical place, or can we find it in another person?

    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.

    They live in Brooklyn and are friends and neighbours; but since Dylan is white and Mingus is black, their friendship is not simple.This is the story of 1970s America, a time when the simplest decisions - what music you listen to, whether to speak to the kid in the seat next to you, whether to give up your lunch money - are laden with potential political, social and racial disaster. This is also the story of 1990s America, when nobody cared anymore.This is the story of what would happen if two teenaged boys obsessed with comic book heroes actually had superpowers: they would screw up their lives.