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.

    A Polar wind blows through it, and birds of prey hover over it." So Melville wrote of his masterpiece, one of the greatest works of imagination in literary history. In part, Moby-Dick is the story of an eerily compelling madman pursuing an unholy war against a creature as vast and dangerous and unknowable as the sea itself. But more than just a novel of adventure, more than an encyclopaedia of whaling lore and legend, the book can be seen as part of its author's lifelong meditation on America. Written with wonderfully redemptive humour, Moby-Dick is also a profound inquiry into character, faith, and the nature of perception.This edition of Moby-Dick, which reproduces the definitive text of the novel, includes invaluable explanatory notes, along with maps, illustrations, and a glossary of nautical terms.

    But a fateful misunderstanding gave Vietnam vet Caney the flashiest joke in the entire state. Twelve years later, the once-busy highway is dead and the sign is as worn as Caney, who hasn't ventured outside the diner since it opened. Then one blustery December day, a thirtyish Crow woman blows in with a three-legged dog in her arms and a long-buried secret on her mind. Hiring on as a carhop, Vena Takes Horse is soon shaking up business, the locals, and Caney's heart...as she teaches them all about generosity of spirit, love, and the possibility of promise-just like the sign says.

    Sent to the state university to study agronomy, he instead falls in love with English literature and embraces a scholar’s life, so different from the hardscrabble existence he has known. And yet as the years pass, Stoner encounters a succession of disappointments: marriage into a “proper” family estranges him from his parents; his career is stymied; his wife and daughter turn coldly away from him; a transforming experience of new love ends under threat of scandal. Driven ever deeper within himself, Stoner rediscovers the stoic silence of his forebears and confronts an essential solitude.John Williams’s luminous and deeply moving novel is a work of quiet perfection. William Stoner emerges from it not only as an archetypal American, but as an unlikely existential hero, standing, like a figure in a painting by Edward Hopper, in stark relief against an unforgiving world.

    He teaches in Gainesville, Florida, where he was born in 1952. His work has appeared in "The New Yorker," " Esquire," "Harper's, "and many other periodicals. Simons Everson Manigault ("You say it 'Simmons.' I'm a rare one-"m" Simons") lives with his mother, an eccentric professor (known as the Duchess), on an isolated and undeveloped strip of South Carolina coast. Convinced that her son can be a writer of genius, the Duchess has immersed Simons in the literary classics since birth ("Like some kids swat mobiles, I was to thumb pages") and has given him free rein to gather materials in such spots as the Baby Grand, a local black nightclub. ("It was an assignment. I'm supposed to write. I'm supposed to get good at it.") Although possessed of a vocabulary and sophistication beyond his years, Simons feels the normal adolescent bewilderment about the behavior of his parents. His conventional father, the Progenitor, has recently left the family in a dispute over Simon's upbringing and has moved to nearby Hilton Head, where he would like to see his son raised among the orthodox surroundings of condominiums, country clubs, and private schools. At the book's center is Taurus, an enigmatic father-surrogate who tutors the boy in the art of watching the world without presumption. "Edisto" is, as Walker Percy observed, "a truly remarkable first novel, both as a narrative and in its extraordinary use of language. It reminds one of "The Catcher in the Rye," but it's better--sharper, funnier, and more poignant." "When asked for a list of the best American writers of the younger generation, I invariably put the name of Padgett Powell at the top."--Saul Bellow "[This] is distinctly a tour de force . . . I found myself increasingly charmed by the book's wit and impressed by its originality. Some turn of phrase, some flash of humor, some freshly observed detail, some accurately rendered perception of a child's pain or a child's amazement transfigures nearly every page. Powell's ear is acute: one of the pleasures of the book is his ability to catch the nuances of Southern speech, whether it is the malicious conversation of the Doctor's academic colleagues at a cocktail party or the genial banter of country folks at the fishing pier."--"The New York Review of Books" "A remarkable book . . . there is not a line that simply slides by; each, in one way or another, turns things to a fresh and unexpected angle. There are splendid things said."--Richard Eder, "Los Angeles Times Book Review" "Simons Manigault is brother to all literary adolescents--Mailer's D.J., Salinger's Holden Caufield, Joyce's Stephen Dedalus . . . "Edisto" is a sparkling read, so full of an energetic intelligence, inventiveness, love of language, and love of people . . . Padgett Powell is an extravagantly talented writer."--Ron Loewinsohn, "The New York Times Book Review" ""Edisto" is a startling book, full of new sights, sounds, and ways if feeling. Mr. Powell weaves wonderful tapestries from ordinary speech; his people, black and white, whether speaking to each other or past each other, tells us things that we never heard before. The book is subtle, daring, and brilliant."--Donald Barthelme "Sly, pungent, lyric, funny, and unlikely to be forgotten."--R. Z. Sheppard, "Time" "Powell creates a language that captures rhythms and reflections that are at once original and true."--Peter S. Prescott, "Newsweek"

    . . that unlocks its secrets like a Chinese box, each hidden compartment opening to reveal yet another, until at the end we stand aghast at the complexity that lies before us” (Richmond Times-Dispatch). This is the heartbreaking story of the Eagen's, an New Orleans family of “mixed blood,” as recalled by three unforgettable narrators, each intimately entangled in the family’s small tragedies and betrayals.Years ago, when his daughter Meredith was young, Dr. Thomas Eagen abruptly left his wife and children in an incident that still haunts Meredith well into adulthood. She longs to discover the truth behind her father's disappearance, as well as the reasons why Thomas's mother, a proud black woman, abandoned his devout Catholic father.

    Jessica will break their hearts. Leonie will fall in love with the wrong man. Mary Jo will escape to New York. And wild child Mathy's fate will be the family's greatest tragedy. Over the decades they will love, deceive, comfort, forgive—and, ultimately, they will come to cherish all the more fiercely the bonds of love that hold the family together.

    The result is a deeply original tour de force that springs from Twain’s classic novel but takes on a fully realized life of its own.Finn sets a tragic figure loose in a landscape at once familiar and mythic. It begins and ends with a lifeless body–flayed and stripped of all identifying marks–drifting down the Mississippi. The circumstances of the murder, and the secret of the victim’s identity, shape Finn’s story as they will shape his life and his death.Along the way Clinch introduces a cast of unforgettable characters: Finn’ s terrifying father, known only as the Judge; his sickly, sycophantic brother, Will; blind Bliss, a secretive moonshiner; the strong and quick-witted Mary, a stolen slave who becomes Finn’s mistress; and of course young Huck himself. In daring to re-create Huck for a new generation, Clinch gives us a living boy in all his human complexity–not an icon, not a myth, but a real child facing vast possibilities in a world alternately dangerous and bright.Finn is a novel about race; about paternity in its many guises; about the shame of a nation recapitulated by the shame of one absolutely unforgettable family. Above all, Finn reaches back into the darkest waters of America’s past to fashion something compelling, fearless, and new.

    In 1983 Little, Brown and Company's posthumous publication of this book electrified the literary world with a force that still resounds across two decades. A collection of stories that depict the world of Pancake's native rural West Virginia with astonishing power and grace, The Stories of Breece D'J Pancake has remained continuously in print and is a perennial favorite among aspiring writers, participants in creative writing programs, and students of contemporary American fiction. "Trilobites", the first of Pancake's stories to be published in The Atlantic, elicited an extraordinary immediate response from readers and continues to be widely anthologized.

    He's having a hard time getting started because his career is floundering, his girlfriend Roz has recently left him, and he is thinking about the great poets throughout history who have suffered far worse and deserve to feel sorry for themselves. He has also promised to reveal many wonderful secrets and tips and tricks about poetry, and it looks like the introduction will be a little longer than he'd thought. What unfolds is a wholly entertaining and beguiling love story about poetry: from Tennyson, Swinburne, and Yeats to the moderns (Roethke, Bogan, Merwin) to the staff of The New Yorker, what Paul reveals is astonishing and makes one realize how incredibly important poetry is to our lives. At the same time, Paul barely manages to realize all of this himself, and the result is a tenderly romantic, hilarious, and inspired novel.

    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.

    Mother of Pearl revolves around twenty-eight-year-old Even Grade, a black man who grew up an orphan, and Valuable Korner, the fifteen-year-old white daughter of the town whore and an unknown father. Both are passionately determined to discover the precious things neither experienced as children: human connection, enduring commitment, and, above all, unconditional love. A startlingly accomplished mixture of beauty, mystery, and tragedy, Mother of Pearl marks the debut of an extraordinary literary talent. (Oprah's Book Club)

    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.

    In it Malamud, usually appreciated for his unerring portrayals of postwar Jewish life, took on very different material—the story of a superbly gifted "natural" at play in the fields of the old daylight baseball era—and invested it with the hardscrabble poetry, at once grand and altogether believable, that runs through all his best work. Four decades later, Alfred Kazin's comment still holds true: "Malamud has done something which—now that he has done it!—looks as if we have been waiting for it all our lives. He has really raised the whole passion and craziness and fanaticism of baseball as a popular spectacle to its ordained place in mythology."

    Set in a small, dusty Texas town, it introduces Jacy, Duane and Sonny, teenagers stumbling towards adulthood, discovering the beguiling mysteries of sex and the even more baffling mysteries of love.