With Butcher’s Crossing, his fiercely intelligent, beautifully written western, Williams dismantles the myths of modern America.It is the 1870s, and Will Andrews, fired up by Emerson to seek “an original relation to nature,” drops out of Harvard and heads west. He washes up in Butcher’s Crossing, a small Kansas town on the outskirts of nowhere. Butcher’s Crossing is full of restless men looking for ways to make money and ways to waste it. Before long Andrews strikes up a friendship with one of them, a man who regales Andrews with tales of immense herds of buffalo, ready for the taking, hidden away in a beautiful valley deep in the Colorado Rockies. He convinces Andrews to join in an expedition to track the animals down. The journey out is grueling, but at the end is a place of paradisal richness. Once there, however, the three men abandon themselves to an orgy of slaughter, so caught up in killing buffalo that they lose all sense of time. Winter soon overtakes them: they are snowed in. Next spring, half-insane with cabin fever, cold, and hunger, they stagger back to Butcher’s Crossing to find a world as irremediably changed as they have been.

    After a particularly gruelling assignment, she checks into an expensive hotel. Unfortunately she has chosen the exact moment terrorists attack the hotel. Abhi, the hotel manager, begs her to stay quiet and stay put. Abhi has never wanted to be a hero; a disappointment to his army father and brother. He thought he'd come to a safe haven at the hotel, a place where he could be himself. Now stuck inside the sealed-off manager's office in the middle of a terrorist attack, he is desperately trying to keep those still alive safe. His lover Dieter is amongst the hostages in the bar and the photographer Sam, refusing to stay in her room, is roaming through the hotel taking pictures, potentially coming face to face with the terrorists at any moment. A small child, Billy, is found alive under the bodies of his dead parents and Abhi has to persuade the non-maternal Sam to bring him back to her room. He's hurt and Sam has no clue how to look after a child. As the tension mounts and more people are killed, the bond between Sam and Abhi, between Sam and Billy, grows. If any of them get out alive, none of them will ever be the same...

    I need to write this book for three reasons: so that people stop giving me strange looks and treating me like a curiosity; so that no one ever asks me any more questions ever again; and so that the judicial system never again frees a paedophile for 'good behaviour'.' 'The Dutroux Affair' shook the whole of Europe. In the middle of the immense machinery of investigation and justice there was Sabine Dardenne herself, Dutroux's last victim. She was held captive for eighty days - and survived. Far from sensationalising the horror, her story, dignified and restrained, is ultimately uplifting. Says Sabine Dardenne, 'I choose to live'.

    When his business fails and his wife leaves him-to pursue more aggressive men-Arthur finds that he has none of the talents and finesse that everyone else seems to possess for navigating New York society.Arthur tries to reinvigorate his life with comic and tragic results: He dates women with no interest in him, burns down his Catskills fly-fishing club, runs afoul of the law in France, and disgraces himself before family members. Just when Arthur hits the depths of despair, an eccentric suitor (a woman who happens to resemble the model on Arthur's vitamin bottles) helps him take a leap into a wonderful unknown.Michael Dahlie's novel digs into the consciousness of a self-doubting everyman-a man who, with a little inspiration, just might become something of a brilliant success.

    During a night spent at work, he witnesses something that he should never have seen. Michael has to flee to try and escape a powerful system behind the operation in which he accidentally gets trapped. But with every step he takes, he is followed by the mysterious Mr. Miller, who seems to know almost everything about him. In a sparkling and exhilarating fast paced style, den Tex creates a scarily timely universe ruled by espionage-like computer techniques, full of managers, mergers, and opaque negotiations, and with that a new genre: the corporate thriller.

    Just a few years ago, Iris was confident and in control. But every day since Aaron’s birth, she’s condemned herself for being a failure—a bad parent who cannot cope with a difficult child. Though she loves her son fiercely, she despairs over his intense outbursts, which are becoming increasingly harder to control.One thing that keeps Aaron calm is the large aquarium in Iris’s mother’s home. Iris has never understood why Agatha, usually so detached, would keep an oversize tank filled with exotic tropical fish, and of course, her mother won’t say—until an incident involving one of the fish leads Iris to make a shocking discovery.She has an older brother. His name is Ray.Why did her mother hide Ray’s existence from her? Did her late father know? And why does Agatha still refuse to say anything about Ray?Curious about this sibling she has never known, Iris begins to search for long-buried truths. What she learns surprises—and horrifies—her. Her older brother is autistic—and in a hospital for the criminally insane for brutally murdering his neighbor and her little girl.When she meets Ray, she meets a man who looks heartbreakingly like her own son. A man who is devoted to his tropical fish and who loves baking bread. A man whose naïveté unnerves her. There is no question that Ray is odd and obsessive, unable to communicate like the rest of us. But is he really a killer—“The Monster Next Door,” as the media dubbed him—a beast who committed a brutal murder because of a broken heart?  Told in the alternating voices of Ray and Iris, Girl in the Dark is a compulsive, page-turning thriller about lies, murder, and the tenacity of a family determined to stay together, even as they are pulled apart at the most vulnerable seams.

    Straightforward and simple. Everyone in their places, getting along, going along...Until everything goes wrong.When it does, Gillian, Stuart and Oliver decide that it's time to talk it all over. Because although they'd all agree that the orderliness of their lives has suddenly mutated into chaos - the alarming fluctuations of love being the chief culprit - that's about all they'd agree on ("One bit of information and people are immediately off into their theories," says Stuart, a bit pedantically). And each of them is determined to be heard.What we hear are three wonderfully realized voices telling three wildly different versions of one story - presenting the protean facts of disintegrating and escalating affections, laying blame, taking blame, talking about themselves, about each other, across each other, behind each other's backs, all in an attempt to get at the endlessly elusive truth. And what they reveal is the sometimes hilarious, sometimes heartrending process of selective memory that deeply colors the (more or less) fine art of eyewitnessing.Once again, the brilliant author of "Flaubert's Parrot", "Staring at the Sun" and "A History of the World in 10-and-1/2 Chapters" gives us a dazzling work of imagination: witty, wry, playful and, in the end, honed to a razor-sharp emotional edge.

    Bing wants more than anything to become a soccer player like his big brother Mone. That's no easy matter for a Belgian boy of eleven or twelve, especially for a boy like Bing. It's the late 1930s, and Mone has been conscripted into the army, leaving Bing's mother more or less dysfunctional. With the clear understanding that if he wants to get anything he's going to have to do it by dint of brains, cunning, and perhaps a bit of chicanery, Bing asks the local soccer hero, Dani Bennoni, for help. Dani Bennoni kindly but firmly refuses to train him. Bing hatches a plan to get Dani's help, but the plan backfires, and the misunderstandings multiply. Dani decides to teach Bing a lesson. What follows—and the action all occurs in a twenty-four-hour period—involves deception, confrontation, panic, humiliation amid a bit of homosexual activity, and Bing's unsuccessful attempt to hide Dani's call-up notice. The motivating force behind all Bing's decisions and activities is his love for his brother, unencumbered by sentimentality, making it all the more profound.

    Following the bizarre accidental death of his wife, Israeli secret service agent Yoel Ravid retires to the suburbs with his daughter, mother and mother-in-law.After a lifetime of uncovering other people's secrets he is forced to look back at the lies he has told himself; at the desolate enigma of his wife's life and death; his years of service to the state and the riddle of his daughter's behaviour.

    IngemannEllinor is seventy. Her husband Georg has just passed away, and she is struck with the need to confide in someone. She addresses Anna, her long-dead best friend, who was also Georg's first wife. Fully aware of the absurdity of speaking to someone who cannot hear her, Ellinor nevertheless finds it meaningful to divulge long-held secrets and burdens of her past: her mother's heartbreaking pride; Ellinor's courtship with her first husband; their seemingly charmed friendship with Anna and Georg; the disastrous ski trip that shattered the two couples' lives.

    It's 1975, and at first look, her life would seem to be normal and unexceptional. But in the world that Leslie Pietrzyk paints, every moment she chronicles is revealed through the kaleidoscope of loss, stained by the fact that Alice's mother, without warning, note, or apology, deliberately parks her car on the railroad tracks, in the path of an oncoming train.In the emotional year that follows, Alice and her older brother find themselves in the care of their great aunt, forced to cope and move forward. Lonely and confused, Alice absorbs herself in her mother Annette's familiar rituals, trying to recapture their connection -- only to be stunned by the sound of her mother's voice speaking to her, engaging Alice in "conversations" and offering some insight into the life that she had led, beyond her role as Alice's mother.

    The Floating Opera and The End Of The Road are John Barth's first two novels.  Their relationship to each other is evident not only in their ribald subject matter but in the eccentric characters and bitterly humorous tone of the narratives.  Both concern strange, consuming love triangles and the destructive effect of an overactive intellect on the emotions.  Separately they give two very different views of a universal human drama.

    Bruno, the older, has become a raucously promiscuous hedonist himself, while Michel is an emotionally dead molecular biologist wholly immersed in the solitude of his work. Each is ultimately offered a final chance at genuine love, and what unfolds is a brilliantly caustic and unpredictable tale.

    Their intention is to drive around Europe, fulfilling Sarie’s wanderlust and returning to some of the places they traveled together when they first met, in 1968.But then Sarie falls seriously ill—diagnosed with stage IV lung cancer. The tragic discovery forces them to completely redefine their trip. Bravely, they hold on to what has bound them together from the beginning: the wish to live fulfilling lives, based on a great love. As Sarie decides to squarely face what is coming, Barend protects her physically, emotionally, and mentally by enabling this last, unbearably intimate trip as they retrace the entirety of their life—from its beginnings to its inevitable end.A novel of an extraordinary journey, Stage Four explores the beautiful and painful devotion that comes from love, unexpected deliverance, and directing a life slowly slipping away.

    The trouble is this doorstopper is a unique thing--a self-help book that actually works--and before Edwin knows it, a chain of events has been started that will have enormous consequences not just for his own life, but for the world at large.