Unable to resume his normal life, he flies south to North Carolina to visit his aged father, a widowed Episcopal priest who is cared for by live-in nurse Audrey Thornton and her grown son, Marcus. During his stay -- with help from his cantankerous father, Audrey, Marcus, and an alluring old flame named Gwyn -- Mabry is compelled to explore his tormented relationship with his father and a world he fondly remembers but has long since abandoned. Back in New York a week later, Mabry faces his old life, which lies in ruins before his eyes. There, he must once again confront change and uncertainty -- and a daunting disease that may prove fatal. In an elegantly crafted and profoundly moving novel, Reynolds Price follows one man's wrenching journey to come to terms with two familiar worlds that have been radically altered.

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    When she discovers that her seventeen-year-old daughter, "stupid Sulfia," is pregnant by an unknown man she does everything to thwart the pregnancy, employing a variety of folkloric home remedies. But despite her best efforts the baby, Aminat, is born nine months later at Soviet Birthing Center Number 134. Much to Rosa's surprise and delight, dark eyed Aminat is a Tartar through and through and instantly becomes the apple of her grandmother's eye. While her good for nothing husband Kalganow spends his days feeding pigeons and contemplating death at the city park, Rosa wages an epic struggle to wrestle Aminat away from Sulfia, whom she considers a woefully inept mother. When Aminat, now a wild and willful teenager, catches the eye of a sleazy German cookbook writer researching Tartar cuisine, Rosa is quick to broker a deal that will guarantee all three women a passage out of the Soviet Union. But as soon as they are settled in the West, the uproariously dysfunctional ties that bind mother, daughter and grandmother begin to fray.Told with sly humor and an anthropologist's eye for detail, The Hottest Dishes of the Tartar Cuisine is the story of three unforgettable women whose destinies are tangled up in a family dynamic that is at turns hilarious and tragic. In her new novel, Russian-born Alina Bronsky gives readers a moving portrait of the devious limits of the will to survive.

    Wandering away into the night, with no memory, she can only utter the words, "I am". She ultimately arrives at the home of a couple whose only daughter has disappeared, setting in motion a tale of loss and redemption.

    When faced with the sudden accidental death of Aria, her five-year-old daughter, she finds little solace in the healing advice she’s prescribed to her patients and their families. Lacking spiritual scaffolding or comforting rituals to cope, Jasmine buys a one-way ticket around the world. Along the way she writes letters: to her three greatest loves, all now dead, and to her devoted friends who encourage her to return home.This deeply spiritual novel is the record of Jasmine’s journey inward and a moving celebration of the fundamental elements of life: of planting maize in Guatemala, of silent meditation in the mountains of Tibet, and of the rituals of grieving in Iran. It is only when Jasmine, this modern American woman, connects with her ancient heritage that she can finally heal.

    In a glass-enclosed city of absolute straight lines, ruled over by the all-powerful 'Benefactor', the citizens of the totalitarian society of OneState live out lives devoid of passion and creativity - until D-503, a mathematician who dreams in numbers, makes a discovery: he has an individual soul. Set in the twenty-sixth century AD, We is the classic dystopian novel and was the forerunner of works such as George Orwell's 1984 and Aldous Huxley's Brave New World. It was suppressed for many years in Russia and remains a resounding cry for individual freedom, yet is also a powerful, exciting and vivid work of science fiction. Clarence Brown's brilliant translation is based on the corrected text of the novel, first published in Russia in 1988 after more than sixty years' suppression.

    It was built on the twentieth-century magic called 'the planned economy', which was going to gush forth an abundance of good things that lands of capitalism could never match. And just for a little while, in the heady years of the late 1950's, the magic seemed to be working.Red Plenty is about that moment in history, and how it came, and how it went away; about the brief era when, under the rash leadership of Nikita Khrushchev, the Soviet Union looked forward to a future of rich communists and envious capitalists, when Moscow would out-glitter Manhattan, and every Lada would be better engineered than a Porsche. It's about the scientists who did their genuinely brilliant best to make the dream come true, it give the tyranny its happy ending. It's history, it's fiction. It's a comedy of ideas, and a novel about the cost of ideas.By award-winning (and famously unpredictable) author of The Child That Books Built and Backroom Boys, Red Plenty is as ambitious as Sputnik, as uncompromising as an Aeroflot flight attendant - and as different from what you were expecting as a glass of Soviet champagne.

    What he finds is the dying and the dead, an entire population suffering from a strange and unnatural plague. Is it possible that every one of the townsfolk have been poisoned? At the heart of the mystery is the local pharmacist, Aiken. He is responsible for summoning young Maxwell to Carrick. He offers motives, explanations, stories, questions. But could he also be guilty of this heinous crime? Maxwell soon realizes that, although a great violence is being done to Carrick, the town itself hides from its own secrets - events from long ago and truths hidden from outsiders at all costs, even their lives. Maxwell interviews the final survivors who are suffering from a disease characterized by a barely recognizable but nonetheless identifiable odour, and a garrulousness unusual in such taciturn people, long accustomed to keeping secrets. yet their confessions lead constantly to more questions and always back to Aiken. As one who knows him well queries, "He's like a stick in water. Is he bent or not?"In The Mysterium, Eric McCormack's second novel, the nature of truth is found to be as deadly as the poison killing the people of Carrick. For at the heart of everything, at the heart of every story and every truth, there is only the mystery.

    But in war-ravaged Sicily, food was scarce, and his parents were as scarred as the land. His father said they must move to America so they could start over and be a family once again. Dominic got a new start, and he got a new family—but not the kind of family he expected.

    There are many unresolved questions. Why, for instance, have both victims left their fortunes to an orphanage run by the English Lady Astair? And who is the beautiful "A.B.," whose signed photograph is found in the apparent suicide's apartment? Relying on his keen intuition, the eager sleuth plunges into an investigation that leads him across Europe, landing him at the deadly center of a terrorist conspiracy of worldwide proportions.

    Peter Werner Ernst is an internal medicine resident at a major hospital's intensive care unit. He functions on eight hours of sleep for every three shifts at work. Overseeing the care of eight patients, Dr. Ernst's job is to keep death at bay--at least until the day shift comes on, and any potential death goes on someone else's record.When Felicia Potter enters the ward to visit her comatose father, Dr. Ernst sees the opportunity to spice up his grim routine with a little romance. What he cannot see is how his relationship with the young attractive model will call into question his integrity, his dedication to his career, and just how far he will go for the sake of his lust.

    Although he would prefer to write short stories, he earns a living composing obituaries for a newspaper. He longs to see his work published, yet the subjects of his obituaries continue to cling to life. But when he opens the newspaper to see his work in print for the first time, his pride swiftly turns to terror. He and Misha have been drawn into a trap from which there appears to be no escape.

    This new collection of eleven mind-bending and spellbinding tales includes some of Krzhizhanovsky's most dazzling conceits: a provincial journalist who moves to Moscow finds his existence consumed by the autobiography of his room's previous occupant; the fingers of a celebrated pianist's right hand run away to spend a night alone on the city streets; a man's lifelong quest to bite his own elbow inspires both a hugely popular circus act and a new refutation of Kant. Ordinary reality cracks open before our eyes in the pages of Autobiography of a Corpse, and the extraordinary spills out.An NYRB Classics Original

    Her last visit here was twelve years ago when, through whispering mangroves, past flocks of exotic birds, skirting bobcat trails and precious mounds of turtle eggs, four children played in this earthly paradise – as explorers, naturalists, boat-builders... and eventually, as lovers. Over the intervening years, Carrie has tried to forget those summer idylls and the children who were her friends – Phoebe, who believed herself to be a mermaid, her aloof older brother Bradley, and Tristan, son of the Native American wisewoman, Tanta. Now two of them are dead and gone. In the cemetery, however, there is only one grave; in Tanta’s backyard, a mourning cradle hangs, stuffed with black raven feathers; and over at Bud’s Landing lives a small boy who has mysteriously been struck dumb. Legend says that pirates buried treasure on a sister island, but here on Sanibel, where a great storm is gathering, Carries is about to unearth some treasure of her own.

    These stories of escape, war, and violence intermingle with the interpreter’s own reading: a his­tory of an ancient Persian war; letters sent to his son “Nebuchadnezzasaurus,” ruler of a distant, imaginary childhood empire; and the diaries of a Russian singer who lived through Russia’s wars and revolutions in the early part of the twentieth century, and eventually saw the Soviet Union’s dissolution. Mikhail Shishkin’s Maidenhair is an instant classic of Russian literature. It bravely takes on the eternal questions—of truth and fiction, of time and timeless­ness, of love and war, of Death and the Word—and is a movingly luminescent expression of the pain of life and its uncountable joys.