He becomes a vagabond and philosopher, struggling with mortality and meaning.In the basement of a Boston bookstore, Firmin is born in a shredded copy Finnegans Wake, nurtured on a diet of Zane Grey, Lady Chatterley’s Lover, and Jane Eyre (which tastes a lot like lettuce). While his twelve siblings gnaw these books obliviously, for Firmin the words, thoughts, deeds, and hopes—all the literature he consumes—soon consume him. Emboldened by reading, intoxicated by curiosity, foraging for food, Firmin ventures out of his bookstore sanctuary, carrying with him all the yearnings and failings of humanity itself. It’s a lot to ask of a rat—especially when his home is on the verge of annihilation.A novel that is by turns hilarious, tragic, and hopeful, Firmin is a masterpiece of literary imagination. For here, a tender soul, a vagabond and philosopher, struggles with mortality and meaning—in a tale for anyone who has ever feasted on a book…and then had to turn the final page. First published by Coffee House Press in 2006. Republished by Delta, a division of Random House, in 2009.

    In "Hands," Wing Biddlebaum tries to hide the tale of his banishment from a Pennsylvania town, a tale represented by his hands. In "Adventure," lonely Alice Hindman impulsively walks naked into the night rain. Threaded through the stories is the viewpoint of George Willard, the young newspaper reporter who, like his creator, stands witness to the dark and despairing dealings of a community of isolated people.

    It was made into a play, a Broadway as well as a Hollywood musical, and a fabulous movie starring Rosalind Russell. Since then, Mame has taken her rightful place in the pantheon of Great and Important People as the world's most beloved, madcap, devastatingly sophisticated, and glamorous aunt. She is impossible to resist, and this hilarious story of an orphaned ten-year-old boy sent to live with his aunt is as delicious a read in the twenty-first century as it was in the 1950s.

    This was a war to make the world safe for democracy. And if democracy was made safe, then nothing else mattered - not the millions of dead bodies, nor the thousands of ruined lives... This is no ordinary novel. This is a novel that never takes the easy way out: it is shocking, violent, terrifying, horrible, uncompromising, brutal, remorseless and gruesome... but so is war. Winner of the National Book Award.

    As a "human being", as the Cheyenne called their own, he won the name Little Big Man. He dressed in skins, feasted on dog, loved four wives and saw his people butchered by the horse soldiers of General Custer, the man he had sworn to kill.As a white man, Crabb hunted buffalo, tangled with Wyatt Earp, cheated Wild Bill Hickok and survived the Battle of Little Bighorn. Part-farcical, part-historical, the picaresque adventures of this witty, wily mythomaniac claimed the Wild West as the stuff of serious literature.

    They were unaware that Washington Irving had invented the man entirely and placed the ads himself. Knickerbocker's purported manuscript, A History of New York, was Irving's own. Told from Knickerbocker's point of view, A History of New York is a chronicle of New York's fifty years under Dutch rule in the 1600s that plays fast and loose with the facts, to uproarious effect. A History of New York propelled Irving to the heights of literary stardom.

    Her theme is one welling from the heart-springs of American life - the story of the Interstate, a railroad founded in the latter days of Jackson's presidency, which grew through one hundred stormy, changeful years of our history into a vast enterprise; and the story of the extraordinary family with whom its fortunes were intertwined, the deWitts. It is 1866. In the small Pennsylvania city of Portersville, headquarters of the Interstate, old Aaron deWitt watches enigmatically as his two sons struggle for control of the railroad he founded.

    It is a dark and absorbing example of the Gothic sensibility and bracing satirical voice that are united in Flannery O'Conner's work. In it, the orphaned Francis Marion Tarwater and his cousins, the schoolteacher Rayber, defy the prophecy of their dead uncle--that Tarwater will become a prophet and will baptize Rayber's young son, Bishop. A series of struggles ensues: Tarwater fights an internal battle against his innate faith and the voices calling him to be a prophet while Rayber tries to draw Tarwater into a more "reasonable" modern world. Both wrestle with the legacy of their dead relatives and lay claim to Bishop's soul.O'Connor observes all this with an astonishing combination of irony and compassion, humor and pathos, resulting in a novel where range and depth reveal a brilliant and innovative writers acutely alert to where the sacred lives and to where it does not.

    She used those attributes to survive a divorce in 1940s America with two children and to claw her way out of poverty, becoming a successful businesswoman. But Mildred also had two weaknesses: a yen for shiftless men and an unreasoning devotion to her monstrous daughter.Out of these elements, Cain created a novel (later made into a film noir classic) of acute social observation and devastating emotional violence—and a heroine whose ambitions and sufferings are never less than recognizable.

    Stacton’s gripping and atmospheric story revolves around the brothers Edwin and John Wilkes Booth, members of a famous theatrical family. Edwin is a great actor, himself a Hamlet-like character whose performance as Hamlet will make him an international sensation. Wilkes is a blustering mediocrity on stage who is determined, however, to be an actor in history, and whose assassination of Abraham Lincoln will change America. Stacton’s novel about how the roles we play become, for better or for worse, the lives we lead, takes us back to the day of the assassination, immersing us in the farrago of bombast that fills Wilkes’s head while following his footsteps up to the fatal encounter at Ford’s Theatre. The political maneuvering around Lincoln’s deathbed and Wilkes’s desperate flight and ignominious capture then set the stage for a political show trial that will condemn not only the guilty but the—at least relatively—innocent. For as Edwin Booth broods helplessly many years later, and as Lincoln, whose tragic death and wisdom overshadow this tale, also knew, “We are all accessories before or after some fact. . . . We are all guilty of being ourselves.”