She invents a happy life. As she knits for imaginary grandchildren, the real world recedes. Her descent into madness is subtle, appalling, and entirely believable.

    A monumental work of scholarship - arguably the most important book about Beckett ever published - SAMUEL BECKETT is also fascinating reading. Beckett's life has been as rich as his writing is spare, and Deirdre Bair tells his story superbly: the upper-middle-class Irish childhood; the early years in Paris and Beckett's complex relationship to Joyce; the psychological anguish of his apprenticeship, poured out by Beckett in more than 300 remarkable, heretofore-unknown letters to a confidant, Thomas McGreevy; Beckett's heroic service with the French Resistance, also unknown till now; "the siege in the room," that extraordinary period after the Second World War during which Beckett created the first masterpieces that would make him world famous; Beckett's increasing involvement with the theatre and his desperate attempts to guard his privacy against the encroachments of celebrity.SAMUEL BECKETT chronicles Beckett's tumultuous relationship with his family, recounts the psychosomatic illnesses that have often kept him from writing, and traces (where they exist) the autobiographical strains in his work. The book tells of his relationships with publishers, actors, directors, and friends. Above all, it portrays Beckett himself, the poet of despair, the angular, enigmatic artist who, in the words of his Nobel Prize citation, "has transmuted the destitution of modern man into his exaltation."When Deirdre Bair began the research for this book, Beckett said he would not authorize it nor would he read it before it was published. To friends he wrote, "I am sure Mrs. Bair is a serious scholar and is out to do a fine book. I will neither help nor hinder her." After literally hundreds of interviews and years of research in Ireland, England, France, Italy, Spain, Northern Ireland, Canada and the United States, after correspondence with people living on every continent, Deirdre Bair has produced a book that is everything a scholar or a reader could hope for: SAMUEL BECKETT is one of the remarkable literary biographies of our time.Deirdre Bair received her B.A. from the University of Pennsylvania and worked as a journalist on newspapers and magazines before returning to academic life and taking a M.A. and Ph.D. at Columbia University. She has taught at Trinity College (Connecticut) and Yale University, and teaches now in the English Department of the University of Pennsylvania. She is married, has two children, and lives in Connecticut. (Taken from the inside jacket material of the First Harcourt Brace Jovanovich Edition, 1978.)

    The three are attended and visited by family and close friends: Agnes and her mother Felicity, estranged further by the latter's dementia; Brian and Beverly whose martial complications are exacerbated by Brian's new lover, Mark; and Joe and Maggie, unready for the strain of Joe's impending death and it's effect on their teenage son.

    It is a June unlike any other before, with temperatures soaring to asphyxiating heights. All across the world, freak weather patterns—and the life-shattering catastrophes they entail—have become the norm. The twenty-first century has entered a new phase. But Gabrielle Fox’s main concern is a personal one: to rebuild her life after a devastating car accident that has left her disconnected from the world, a prisoner of her own guilt and grief. Determined to make a fresh start, and shake off memories of her wrecked past, she leaves London for a temporary posting as an art therapist at Oxsmith Adolescent Secure Psychiatric Hospital, home to one hundred of the most dangerous children in the country. Among them: the teenage killer Bethany Krall.Despite two years of therapy, Bethany is in no way rehabilitated and remains militantly nonchalant about the bloody, brutal death she inflicted on her mother. Raised in evangelistic hellfire, the teenager is violent, caustic, unruly, and cruelly intuitive. She is also insistent that her electroshock treatments enable her to foresee natural disasters—a claim which Gabrielle interprets as a symptom of doomsday delusion.But as Gabrielle delves further into Bethany’s psyche, she begins to note alarming parallels between her patient’s paranoid disaster fantasies and actual incidents of geological and meteorological upheaval—coincidences her professionalism tells her to ignore but that her heart cannot. When a brilliant physicist enters the equation, the disruptive tension mounts—and the stakes multiply. Is the self-proclaimed Nostradamus of the psych ward the ultimate manipulator or a harbinger of global disaster on a scale never seen before? Where does science end and faith begin? And what can love mean in “interesting times”?With gothic intensity, Liz Jensen conjures the increasingly unnerving relationship between the traumatized therapist and her fascinating, deeply calculating patient. As Bethany’s warnings continue to prove accurate beyond fluke and she begins to offer scientifically precise hints of a final, world-altering cataclysm, Gabrielle is confronted with a series of devastating choices in a world in which belief has become as precious - and as murderous—as life itself.

    The problems of everyday living accumulate and begin to torture Joy, who blames her problems not on her work or on the accidental drowning of her illicit lover, but on herself. While painful and deeply serious, this is a novel of great warmth and energy: it's the wit and irony found in moments of despair that prove to be Joy's salvation. First published by Polygon in 1989 and Dalkey Archive Press in 1994, now available again.

    One day she walks out of her office, acquires a gaudy new outfit, adopts a girlier tone of voice, and heads to the airport to fly south. On the plane she takes a seat between two men. One is delighted with her company, the other is deeply perturbed. So begins an unnerving journey into the darker recesses of human nature.

    Now living happily in Berkeley, married and the mother of twins, Nora Jane is back in college, pregnant again, launching a new career, and facing circumstances that imperil her domestic bliss.The nine stories that follow explore the hazards of recapturing and reviving old affairs. Featuring both new and familiar Gilchrist characters, all of these stories shed brilliant new light on the oldest emotion.

    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 narrator, an anonymous graduate student, sets off on the trail of a French novelist named Paul Michel, who is currently confined to an asylum. Engineering his hero's release, the narrator finds himself enmeshed in bizarre love triangle, of which the three vertices are himself, the novelist, and the late Michel Foucault. Sex, it seems, can be made safe, but the oddball intimacy of reading cannot.

    Their stainless-steel kitchen is newly installed, and their Mercedes is parked curbside. After Sophie is bitten on the hand while trying to feed a stray, perhaps rabies-infected cat, a series of small and ominous disasters begin to plague the Bentwoods' lives, revealing the fault lines and fractures in a marriage—and a society—wrenching itself apart.First published in 1970 to wide acclaim, Desperate Characters stands as one of the most dazzling and rigorous examples of the storyteller's craft in postwar American literature — a novel that, according to Irving Howe, ranks with "Billy Budd, The Great Gatsby, Miss Lonelyhearts, and Seize the Day."

    The author deftly puts you inside the mind of a serial killer--succeeding not in writing about madness, but in writing with the logic of madness.

    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.

    Corruption is rampant in the High Command: supplies are being siphoned off, and starving, exhausted soldiers must cross their won mine fields to steal potatoes from the neighboring French farms.Against all army rank and protocol, Wenk forms a friendship with Lieutenant Schelling, whose protests on behalf of his men have incurred the wrath of another officer. When the company is transferred to the fighting on the Russian front, fear, suspicion, and mistrust forces events to a shocking conclusion.Written in 1947 and lost in the chaos of Germany in the postwar years, A Soldier's Legacy now takes its place beside All Quiet on the Western Front as a depiction of the horrors of war.

    While she strolls, Lillian recalls a long and eventful life that included a brief reign as the highest-paid advertising woman in America—a career cut short by marriage, motherhood, divorce, and a breakdown.A love letter to city life—however shiny or sleazy—Lillian Boxfish Takes a Walk by Kathleen Rooney paints a portrait of a remarkable woman across the canvas of a changing America: from the Jazz Age to the onset of the AIDS epidemic; the Great Depression to the birth of hip-hop.

    An extraordinarily well-crafted work, this book is a work of vision. Through its deft negotiation of race, class, gender and cultural change, it dramatizes the 'nervousness' of the 'postcolonial' conditions that bedevil us still. In Tambu and the women of her family, we African women see ourselves, whether at home or displaced, doing daily battle with our changing world with a mixture of tenacity, bewilderment and grace.