He is the curate sent by the bishop to assist Father Angwin-or is he? In the most unlikely of places, a superstitious town that understands little of romance or sentimentality, where bad blood between neighbors is ancient and impenetrable, miracles begin to bloom. No matter how copiously Father Angwin drinks while he confesses his broken faith, the level of the bottle does not drop. Although Fludd does not appear to be eating, the food on his plate disappears. Fludd becomes lover, gravedigger, and savior, transforming his dull office into a golden regency of decision, unashamed sensation, and unprecedented action. Knitting together the miraculous and the mundane, the dreadful and the ludicrous, Fludd is a tale of alchemy and transformation told with astonishing art, insight, humor, and wit.

    Cool, eloquent, raising two fatherless children, Claire has emerged as the most visible of the widows who became a potent political force in the aftermath of the catastrophe. She longs for her husband, but she has found her mission: she sits on a jury charged with selecting a fitting memorial for the victims of the attack. Of the thousands of anonymous submissions that she and her fellow jurors examine, one transfixes Claire: a garden on whose walls the names of the dead are inscribed. But when the winning envelope is opened, they find the designer is Mohammad Khan - Mo - an enigmatic Muslim-American who, it seems, feels no need to represent anyone's beliefs except his own. When the design and its creator are leaked, a media firestorm erupts, and Claire finds herself trying to balance principles against emotions amid escalating tensions about the place of Islam in America.A remarkably bold and ambitious debut, The Submission is peopled with journalists, activists, mourners, and bureaucrats who struggle for advantage and fight for their ideals. In this deeply humane novel, the breadth of Amy Waldman's cast of characters is matched by her startling ability to conjure individual lives from their own points of view. A striking portrait of a city - and a country - fractured by old hatreds and new struggles, The Submission is a major novel by an important new talent.

    On the brink of twenty, Charles High-way preps desultorily for Oxford, cheerfully loathes his father, and meticulously plots the seduction of a girl named Rachel -- a girl who sorely tests the mettle of his cynicism when he finds himself falling in love with her.

    This cutting comedy about hard times, bad jobs, lousy marriages, little magazines, high principles, and the morning after bears comparison with the best work of Dawn Powell and Mary McCarthy.

    Her arrival coincides with an explosion of activity in the art world—artists have colonized a deserted and industrial SoHo, are staging actions in the East Village, and are blurring the line between life and art. Reno meets a group of dreamers and raconteurs who submit her to a sentimental education of sorts. Ardent, vulnerable, and bold, she begins an affair with an artist named Sandro Valera, the semi-estranged scion of an Italian tire and motorcycle empire. When they visit Sandro’s family home in Italy, Reno falls in with members of the radical movement that overtook Italy in the seventies. Betrayal sends her reeling into a clandestine undertow. The Flamethrowers is an intensely engaging exploration of the mystique of the feminine, the fake, the terrorist. At its center is Kushner’s brilliantly realized protagonist, a young woman on the verge. Thrilling and fearless, this is a major American novel from a writer of spectacular talent and imagination.

    It tells the story of two young boxers out of Stockton, California: Ernie Munger and Billy Tully, one in his late teens, the other just turning thirty, whose seemingly parallel lives intersect for a time. Set in an ambiance of glittering dreams and drab realities, it tells of the two fighters' struggles to escape the confinements of their existence, and of the men and women in their world. Fat City is a novel about the sporting life like no other ever written: without melodrama or false heroics, written with a truthfulness that is at once painful and beautiful.Denis Johnson: "Between the ages of 19 and 25 I studied Leonard Gardner’s book so closely that I began to fear I’d never be able to write anything but imitations of it, so I swore it off(...)When I was about 34 (the same age Gardner was when he published his), my first novel came out. About a year later I borrowed Fat City from the library and read it. I could see immediately that ten years’ exile hadn’t saved me from the influence of its perfection — I’d taught myself to write in Gardner’s style, though not as well. And now, many years later, it’s still true: Leonard Gardner has something to say in every word I write."Joan Didion: "Leonard Gardner's Fat City affected me more than any new fiction I have read in a long while, and I do not think it affected me only because I come from Fat City, or somewhere near it. He has got it exactly right--the hanging around gas stations, the field dust, the relentless oppressiveness of the weather, the bleak liaisons sealed on the levees and Greyhound buses--but he has done more than just get it down, he has made it a metaphor for the joyless in heart."David Wagoner: "The people he writes about are alive and three-dimensional, and have that meaty, sweaty immediacy I admire in novels and find so seldom. It's an odd, interesting world he explores here--as tense and vivid as the prose."Ivan Gold: "Gardner writes with power, with an insider's knowledge, and with a vividness and love for his characters which redeem them even when they're lost and beaten."Harry Mark Petrakis: "A man of real talent. He makes the savage world he writes of come alive to the point where the reader can smell the sweat, and feel the anguish of unremitting failure."Ross Macdonald: "In his pity and art Gardner moves beyond race, beyond guilt and punishment, as Twain and Melville did, into a tragic forgiveness. I have seldom read a novel as beautiful and individual as this one."Originally published in 1969, Fat City is an American classic whose stature has increased over the years. Made into an acclaimed film by John Huston, the book is set in and around Stockton, California.

    Peter finds himself in the shabby study of his former home. Surrounded by the comforting, familiar sights of his past, he surveys his life and the people he has loved — his wife Lillian, his daughters, and Tom Outland, his most outstanding student and once, his son-in-law to be. Enigmatic and courageous—and a tragic victim of the Great War — Tom has remained a source of inspiration to the professor. But he has also left behind him a troubling legacy which has brought betrayal and fracture to the women he loves most.

    Guido plans to write poetry while Vincent feels confident he will win a Nobel prize for physics. When Guido spots Holly while exiting a museum, he can immediately sense that she will be difficult, quirky, and hard to live with. He loves her on sight. Vincent, open-minded and cheerful, meets Misty at work. Though she is a  bored and misanthropic brunette, he finds himself desperate to know her. Through courtship, jealousy, estrangement, and other perils, Happy All the Time follows four sane, intelligent, and good-intentioned people who manage to find love in spite of themselves.

    Soon, through the family’s generosity, he is a student at a private boarding school and an aide to the great New York senator Henry Bonwiller, who is running for president of the United States. Before long, Corey finds himself involved with one of the Metarey daughters as well, and he begins to leave behind the world of his upbringing. As the Bonwiller campaign gains momentum, Corey finds himself caught up in a complex web of events in which loyalty, politics, sex, and gratitude conflict with morality, love, and the truth. America America is a beautiful novel about America as it was and is, a remarkable exploration of how vanity, greatness, and tragedy combine to change history and fate.

    Six years later, again in June, Paul's death draws his three grown sons and their families back to their ancestral home. Fenno, the eldest, a wry, introspective gay man, narrates the events of this unforeseen reunion. Far from his straitlaced expatriate life as a bookseller in Greenwich Village, Fenno is stunned by a series of revelations that threaten his carefully crafted defenses. Four years farther on, in yet another June, a chance meeting on the Long Island shore brings Fenno together with Fern Olitsky, the artist who once captivated his father. Now pregnant, Fern must weigh her guilt about the past against her wishes for the future and decide what family means to her. In prose rich with compassion and wit, Three Junes paints a haunting portrait of love's redemptive powers.

    When Ned's mother Jenny suffers a breakdown and retreats from her husband's carelessness into a dream world, Ned becomes part of his father's seedy nocturnal world, touring the town's bars and pool halls, struggling to win Sam's affections while avoiding his sins.

    Life is hell for all the slaves, but especially bad for Cora; an outcast even among her fellow Africans, she is coming into womanhood—where even greater pain awaits. When Caesar, a recent arrival from Virginia, tells her about the Underground Railroad, they decide to take a terrifying risk and escape. Matters do not go as planned—Cora kills a young white boy who tries to capture her. Though they manage to find a station and head north, they are being hunted.In Whitehead’s ingenious conception, the Underground Railroad is no mere metaphor—engineers and conductors operate a secret network of tracks and tunnels beneath the Southern soil. Cora and Caesar’s first stop is South Carolina, in a city that initially seems like a haven. But the city’s placid surface masks an insidious scheme designed for its black denizens. And even worse: Ridgeway, the relentless slave catcher, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom.Like the protagonist of Gulliver’s Travels, Cora encounters different worlds at each stage of her journey—hers is an odyssey through time as well as space. As Whitehead brilliantly re-creates the unique terrors for black people in the pre–Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman’s ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.