In fact, it is a compelling adventure story with richly drawn characters and has earned a place in both literary and American history. Stowe's religious beliefs show up in the novel's final, overarching theme—the exploration of the nature of Christianity and how Christian theology is fundamentally incompatible with slavery.

    The business operates out of an empty office in the Empire State Building; Mitchell is employee number two. He is asked to calculate worst-case scenarios in the most intricate detail, and his schemes are sold to corporations to indemnify them against any future disasters. This is the cutting edge of corporate irresponsibility, and business is booming.     As Mitchell immerses himself in the mathematics of catastrophe—ecological collapse, war games, natural disasters—he becomes obsessed by a culture’s fears. Yet he also loses touch with his last connection to reality: Elsa Bruner, a friend with her own apocalyptic secret, who has started a commune in Maine. Then, just as Mitchell’s predictions reach a nightmarish crescendo, an actual worst-case scenario overtakes Manhattan. Mitchell realizes he is uniquely prepared to profit. But at what cost?     At once an all-too-plausible literary thriller, an unexpected love story, and a philosophically searching inquiry into the nature of fear, Nathaniel Rich’s Odds Against Tomorrow poses the ultimate questions of imagination and civilization. The future is not quite what it used to be.

    Like the old master Henry James, Sheila Bosworth uses the chilling device of using the mirror of innocence to reflect evil. It is a lovely achievement, a superior one."-Walker Percy Clay-Lee Calvert is the love child of two people who are as beautiful as models in a magazine but whose similarity ends there. Her father, Rand, is an artist-easygoing, dreamy, principled, and chronically jobless. Her mother, Constance, is the blue-blooded, pampered, delicate but determined daughter of a state supreme court justice. How their intense passion for each other plays out against the sumptuousness and decay of 1950s New Orleans is something to which no innocent should be privy. In Sheila Bosworth's mesmerizing first novel, the era, the place, the people, of Clay-Lee's childhood all form an air as real as our own pasts, alternately dim and indelible, where everyone bears some guilt, and all are almost innocent.

    "The subterraneans" come alive at night, travel along dark alleyways, and live in a world filled with paint, poetry, music, smoke, and sex. Simmering in the center of it all is the brief affair between Leo Percepied, a writer, and Mardou Fox, a black woman ten years younger. Just at the moment when she is coolly leaving him, Leo realizes his passion for passion, his inability to function without it, and the puzzling futility of seeking redemption and fulfillment through writing.

    The soldier-boy in the picture never changed. In a way that made him dependable. But he seemed so innocent. "Astronauts have been to the moon," she blurted out to the picture. "You missed Watergate. I was in the second grade."She stared at the picture, squinting her eyes, as if she expected it to come to life. But Dwayne had died with his secrets. Emmett was walking around with his. Anyone who survived Vietnam seemed to regard it as something personal and embarrassing. Granddad had said they were embarrassed that they were still alive. "I guess you're not embarrassed," she said to the picture.This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.

    A seventy-year-old West Indian woman looks back over the course of her life and examines the relationships that have given meaning to her existence.

    Set in a summer villa, the story is tautly structured, taking place over a week in which a group of beautiful, flawed tourists in the French Riviera comes loose at the seams. Shortlisted for the 2012 Man Booker Prize.

    Insel , the only novel by the surrealist master Mina Loy, is a book like no other--about an impossible friendship amid the glamorous artistic bohemia of 1930s Paris.

    The resulting novel, The Artificial Silk Girl, became an acclaimed bestseller and a masterwork of German literature, in the tradition of Christopher Isherwood's 'Berlin Stories' and Bertolt Brecht's 'Three Penny Opera'. Like Isherwood and Brecht, Keun revealed the dark underside of Berlin's "golden twenties" with empathy and honesty. Unfortunately, a Nazi censorship board banned Keun's work in 1933, and destroyed all existing copies of The Artificial Silk Girl. Only one English translation was ever published, in Great Britain, before the book disappeared in the chaos of the ensuing war. Today, more than seven decades later, the story of this quintessential "material girl" remains as relevant as ever, as an accessible new translation brings this lost classic to light once more. Other Press is pleased to announce the republication of The Artificial Silk Girl, elegantly translated by noted Germanist Kathie von Ankum, and featuring a new introduction by Harvard professor Maria Tatar.

     It’s been five years since novelist Samuel Mason and his family vacationed at the lakeside cottage in northeastern Vermont, close to where Sam grew up. Back then, he and his wife enjoyed noisy, chaotic, and pretty much perfect summer getaways with their twins, Franny and Finn. But this year at Lake Gormlaith, there are only three of them.  Ever since Franny’s death, the Masons have been flailing, one step away from falling apart. This trip is Sam’s last, best hope of rescuing his son from a destructive path and salvaging what’s left of his family. As he struggles with grief, writer’s block, and a looming deadline, his wife, Mena, tries to repair the marital bond she once thought was unbreakable. But even in this secluded place, the unexpected—in the form of an overzealous fan, a surprising friendship, and a second chance—can change everything.

    The stories are told in a country villa outside the city of Florence by ten young noble men and women who are seeking to escape the ravages of the plague. Boccaccio's skill as a dramatist is masterfully displayed in these vivid portraits of people from all stations in life, with plots that revel in a bewildering variety of human reactions.Translated with an Introduction and Notes by G. H. McWilliam

    Still convincingly female, though in no way dumb and girly, fortyish Juanita serves drinks to the colorful crew patronizing Herb's Cafe in South Fort Worth, worries herself sick over a hot-to-trot daughter proving too fond of drugs and the dealers who sell them, endures a hypochondriac mother whose whinings would justify murder, dates a fellow middle-ager whose connections with the oil industry are limited to dipstick duty at his filling station—and, by the way, she also hopes to become a singer-songwriter in the real country tradition of Bob Wills and Willie Nelson. That Juanita is way too old to remain a kid with a crazy dream doesn't matter much to her. In between handing out longneck beers to customer-acquaintances battling hot flashes and deciding when boyfriend Slick is finally going to get lucky, Juanita keeps jotting down lyrics reflective of hard-won wisdom and setting them to music composed on her beloved Martin guitar. Too many of her early songwriting results are one-dimensional or derivative, but finally she hits on something both original and heartfelt: a tribute to her beloved home state, warts and all.

    In this, her third collection of poetry, we find her performing her characteristic magic, turning these theoretical concerns into a poetic odyssey.From her first poem, written in Honolulu, Hawaii, to the last, written in Berkeley, California, about her childhood in Appalachia, Spahr takes us on a wild patchwork journey backwards and forwards in time and space, tracking change in ecology, society, economies, herself. Through a collage of ''found language'' a deep curiosity about place, and a restless intelligence, Spahr demonstrates the vibrant possibilities of an investigatory poetics. This verse is more inclusive than exclusive; consistently Spahr includes grape varietals, the shrinking of public beachfront in Hawaii, endangered plant, fish, and wildlife species, the melting of the polar ice caps, and comparative poverty rates in her eclectic repertoire. She also knows how to sing in the oldest tradition of poetry of loss, and her lament for nature is the most keen.

    None of the Same Sweet Girls are really girls anymore, and none of them have actually ever been that sweet. But this spirited group of Southern women, who have been holding biannual reunions ever since they were together in college, are nothing short of compelling. There's Julia Stovall, the First Lady of Alabama, who, despite her public veneer, is a down-to-earth gal who only wants to know who her husband is sneaking out with late at night. There's Lanier Sanders, whose husband won custody of their children after he found out about her fling with a colleague. Then there's Astor Deveaux, a former Broadway showgirl who simply can't keep her flirtations in check. And Corinne Cooper, whose incredible story comes to light as the novel unfolds.

    In Schneider's Berlin, real people cross the Wall not to defect but to quarrel with their lovers, see Hollywood movies, and sometimes just because they can't help themselves—the Wall has divided their emotions as much as it has their country."An honest, rich book. . . . It is one those rare books that come back at odd moments to intrude on your comfortable conclusions and easy images."—Robert Houston, Nation