D. Salinger, Bartleby Co. could be described as a meditation: a walking tour through the annals of literature. Written as a series of footnotes (a non-work itself), Bartleby embarks on such questions as why do we write, why do we exist? The answer lies in the novel itself: told from the point of view of a hermetic hunchback who has no luck with women, and is himself unable to write, Bartleby is an utterly engaging work of profound and philosophical beauty.

    . . not only a poetics of reading . . . but a much more difficult achievement, an erotics of reading . . . . Like filings which gather to form a figure in a magnetic field, the parts and pieces here do come together, determined to affirm the pleasure we must take in our reading as against the indifference of (mere) knowledge." --Richard Howard

    Taking advantage of the absolute latest advances in wood pulp technology, Building Stories is a book with no deliberate beginning nor end, the scope, ambition, artistry and emotional prevarication beyond anything yet seen from this artist or in this medium, probably for good reason.

     A constellation of previously published pieces and new essays as provocative and idiosyncratic as any he’s written, this volume sheds light on an array of topics from sex in cinema to drugs, graffiti, Bob Dylan, cyberculture, 9/11, book touring, and Marlon Brando, as well as on a shelf’s worth of his literary models and contemporaries: Norman Mailer, Paula Fox, Bret Easton Ellis, James Wood, and oth­ers. And, writing about Brooklyn, his father, and his sojourn through two decades of writing, Lethem sheds an equally strong light on himself.

    Andrée is small for her age, but walks with the confidence of an adult. Under her red coat, se hides terrible burn scars. And when she imagines beautiful things, she gets goosebumps... Secretly Sylvie believes that Andrée is a prodigy about whom books will be written. The girls become close. They talk for hours about equality, justice, war and religion; they lose respect for their teachers; they build a world of their own. But they can't stay like this forever. Written in 1954, five years after The Second Sex, the novel was never published in Simone de Beauvoir's lifetime. This first English edition includes an afterword by her adopted daughter, who discovered the manuscript hidden in a drawer, and photographs of the real-life friendship which inspired and tormented the author.

    But when athletic Chloé suddenly drowns, Gabriel is left to grapple with the mysterious circumstances of her death. Brokenhearted, he pours out his grief in a bereavement group and is consoled by photographer Emma. While the two grow closer, Gabriel can’t help but feel Chloé’s presence everywhere he goes. And as revelations about Chloé slowly emerge, he begins to wonder, is Emma really that different?From prize-winning and bestselling author Amélie Antoine comes a dark and evocative novel that will keep readers guessing until the final moments—will Gabriel be able to move on with Emma, or will the mystery of Chloé’s death consume him?

    Ask for a pay rise? Pushy.Take credit for an idea? Arrogant.Admit a mistake? Weak.Successfully juggle work and family? Unpromotable.In How to Be Successful Without Hurting Men's Feelings, Sarah Cooper, author of the bestselling 100 Tricks to Appear Smart in Meetings, illustrates how women can achieve their dreams, succeed in their careers and become leaders, without harming the fragile male ego.This wickedly funny tongue-in-cheek guide includes chapters on ‘How to Ace Your Job Interview Without Over-acing It’, ‘9 Non-threatening Leadership Strategies for Women’, and ‘Choose Your Own Adventure: Do You Want to Be Likeable or Successful?’. It even includes several pages to doodle on while men finish explaining things.When all else fails, there is a set of cut-outable moustaches inside to allow women to seem more man-like, which will probably lead to a quick promotion!PRAISE FOR 100 TRICKS TO APPEAR SMART IN MEETINGS:'A lot of fun and absolutely on the money' Daily Telegraph, Book of the Year'Even though it's mostly a comedy book, I can't help but think how legitmately useful I would have found this in my early twenties' The Pool'Sarah Cooper is uncannily spot on when describing the seemingly innocent behaviours of people attempting to impress others' Christine Tsai, Founding Partner, 500 STARTUPS

    From the first descent of the larynx into the throat (why you can talk but your dog can't), to the fine lost art of swearing, Bryson tells the fascinating, often uproarious story of an inadequate, second-rate tongue of peasants that developed into one of the world's largest growth industries.

    She proclaims, in her delightfully urbane, witty, and very English way, that it is time to look at our commas and semicolons and see them as the wonderful and necessary things they are. Using examples from literature, history, neighborhood signage, and her own imagination, Truss shows how meaning is shaped by commas and apostrophes, and the hilarious consequences of punctuation gone awry.Featuring a foreword by Frank McCourt, and interspersed with a lively history of punctuation from the invention of the question mark in the time of Charlemagne to George Orwell shunning the semicolon, Eats, Shoots & Leaves makes a powerful case for the preservation of proper punctuation.

    The Office constructs propositions and documents for the advancement of a natural history of civic surface. Three books of Robertson's poetry have been published: XEclogue (Tsunami Editions, 1993, reissued by New Star, 1999) Debbie: An Epic (1997, nominated for the Governor General's Award for Poetry) and The Weather (2001) (both co-published by New Star in Canada and Reality Street in the U.K.). Her prose has appeared in Cabinet, Front, Jacket, Mix, Collapse, Nest magazine, and many art catalogs and monographs.

    It also contains reminiscences of some of Cocteau's closet friends, including Nijinsky and Marcel Proust, and provides revealing insights into the creation of such masterpieces as Orphee and Les Enfants Terribles.

    It tells the story of Cécile, who leads a carefree life with her widowed father and his young mistresses until, one hot summer on the Riviera, he decides to remarry - with devastating consequences. In A Certain Smile Dominique, a young woman bored with her lover, begins an encounter with an older man that unfolds in unexpected and troubling ways. These two acerbically witty and delightfully amoral tales about the nature of love are shimmering masterpieces of cool-headed, brilliant observation.

    When the online storytelling magazine SMITH asked readers to submit six-word memoirs, they proved a whole, real life can be told this way, too. The results are fascinating, hilarious, shocking, and moving. From small sagas of bittersweet romance ("Found true love, married someone else") to proud achievements and stinging regrets ("After Harvard, had baby with crackhead"), these terse true tales relate the diversity of human experience in tasty bite-size pieces. The original edition of Not Quite What I Was Planning spent six weeks on the New York Times bestseller list, and thanks to massive media attention—from NPR to the The New Yorker—the six-word memoir concept spread to classrooms, dinner tables, churches, synagogues, and tens of thousands of blogs. This deluxe edition has been revised and expanded to include more than sixty never-before-seen memoirs. From authors Elizabeth Gilbert, Richard Ford, and Joyce Carol Oates to celebrities Stephen Colbert, Mario Batali, and Joan Rivers to ordinary folks around the world, everyone has a six-word story to tell.

    Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

    The test is severe—sexual in method, psychological in substance… The artistic interest here has precisely to do with the use not only of erotic materials but also erotic methods, the deliberate stimulation of the reader as a part of and means to a total, authentic literary experience.—Eliot Fremont-Smith, The New York Times