In the cafés on College Hill, the wised-up kids are inhaling Derrida and listening to the Talking Heads. But Madeleine Hanna, dutiful English major, is writing her senior thesis on Jane Austen and George Eliot, purveyors of the marriage plot that lies at the heart of the greatest English novels. As Madeleine tries to understand why "it became laughable to read writers like Cheever and Updike, who wrote about the suburbia Madeleine and most of her friends had grown up in, in favor of reading the Marquis de Sade, who wrote about deflowering virgins in eighteenth century France," real life, in the form of two very different guys, intervenes. Leonard Bankhead - charismatic loner, college Darwinist, and lost Portland boy - suddenly turns up in a semiotics seminar, and soon Madeleine finds herself in a highly charged erotic and intellectual relationship with him. At the same time, her old "friend" Mitchell Grammaticus - who's been reading Christian mysticism and generally acting strange - resurfaces, obsessed with the idea that Madeleine is destined to be his mate. Over the next year, as the members of the triangle in this amazing, spellbinding novel graduate from college and enter the real world, events force them to reevaluate everything they learned in school. Leonard and Madeleine move to a biology laboratory on Cape Cod, but can't escape the secret responsible for Leonard's seemingly inexhaustible energy and plunging moods. And Mitchell, traveling around the world to get Madeleine out of his mind, finds himself face-to-face with ultimate questions about the meaning of life, the existence of God, and the true nature of love. Are the great love stories of the nineteenth century dead? Or can there be a new story, written for today and alive to the realities of feminism, sexual freedom, prenups, and divorce? With devastating wit and an abiding understanding of and affection for his characters, Jeffrey Eugenides revives the motivating energies of the Novel, while creating a story so contemporary and fresh that it reads like the intimate journal of our own lives.

    After accidentally becoming the star of University of Alabama's football team, Forrest goes on to become a Vietnam War hero, a world-class Ping-Pong player, a villainous wrestler, and a business tycoon -- as he wonders with childlike wisdom at the insanity all around him. In between misadventures, he manages to compare battle scars with Lyndon Johnson, discover the truth about Richard Nixon, and survive the ups and downs of remaining true to his only love, Jenny, on an extraordinary journey through three decades of the American cultural landscape. Forrest Gump has one heck of a story to tell -- and you've got to read it to believe it...

    His department is facing draconian cuts and squalid quarters, while one floor above them the Economics Department is getting lavishly remodeled offices. His once-promising writing career is in the doldrums, as is his romantic life, in part as the result of his unwise use of his private affairs for his novels. His star (he thinks) student can't catch a break with his brilliant (he thinks) work Accountant in a Bordello, based on Melville's Bartleby. In short, his life is a tale of woe, and the vehicle this droll and inventive novel uses to tell that tale is a series of hilarious letters of recommendation that Fitger is endlessly called upon by his students and colleagues to produce, each one of which is a small masterpiece of high dudgeon, low spirits, and passive-aggressive strategies. We recommend Dear Committee Members to you in the strongest possible terms.

    . . Will stand by itself as one of our funniest, most telling anatomies of human love and vulnerability.” —The New York Times Book Review, cover).These eight masterly stories reveal Lorrie Moore at her most mature and in a perfect configuration of craft, mind, and bewitched spirit, as she explores the passage of time and summons up its inevitable sorrows and hilarious pitfalls to reveal her own exquisite, singular wisdom.In “Debarking,” a newly divorced man tries to keep his wits about him as the United States prepares to invade Iraq, and against this ominous moment, we see—in all its irresistible wit and darkness—the perils of divorce and what can follow in its wake . . .In “Foes,” a political argument goes grotesquely awry as the events of 9/11 unexpectedly manifest themselves at a fund-raising dinner in Georgetown . . . In “The Juniper Tree,” a teacher visited by the ghost of her recently deceased friend is forced to sing “The Star-Spangled Banner” in a kind of nightmare reunion . . . And in “Wings,” we watch the inevitable unraveling of two once-hopeful musicians, neither of whom held fast to their dreams nor struck out along other paths, as Moore deftly depicts the intricacies of dead-ends-ville and the workings of regret . . .Here are people beset, burdened, buoyed; protected by raising teenage children; dating after divorce; facing the serious illness of a longtime friend; setting forth on a romantic assignation abroad, having it interrupted mid-trip, and coming to understand the larger ramifications and the impossibility of the connection . . . stories that show people coping with large dislocation in their lives, with risking a new path to answer the desire to be in relation—to someone . . .Gimlet-eyed social observation, the public and private absurdities of American life, dramatic irony, and enduring half-cracked love wend their way through each of these narratives in a heartrending mash-up of the tragic and the laugh-out-loud—the hallmark of life in Lorrie-Moore-land.--jacket

    Meet Florence Gordon: blunt, brilliant, cantankerous and passionate, feminist icon to young women, invisible and underappreciated by most everyone else. At seventy-five, Florence has earned her right to set down the burdens of family and work and shape her legacy at long last. But just as she is beginning to write her long-deferred memoir, her son Daniel returns to New York from Seattle with his wife and daughter, and they embroil Florence in their dramas, clouding the clarity of her days with the frustrations of middle-age and the confusions of youth. And then there is her left foot, which is starting to drag. With searing wit, sophisticated intelligence, and a tender respect for humanity in all its flaws, Brian Morton introduces a constellation of unforgettable characters. Chief among them, Florence, who can humble the fools surrounding her with one barbed line, but who eventually finds there are realities even she cannot outsmart.

    Many inhabit small-town or suburban America. But this time, her heroine is urban: a brainy, beautiful, and ambitious rising star of 1970s television. Dena Nordstrom, pride of the network, is a woman whose future is full of promise, her present rich with complications, and her past marked by mystery.

    Rosemary begins her story in the middle. She has her reasons. “Until Fern’s expulsion...,” Rosemary says, “she was my twin, my funhouse mirror, my whirlwind other half and I loved her.” As a child, Rosemary never stopped talking. Then, something happened, and Rosemary wrapped herself in silence.In We Are All Completely Beside Ourselves, Karen Joy Fowler weaves her most accomplished work to date—a tale of loving but fallible people whose well-intentioned actions lead to heartbreaking consequences.

    She abruptly vanishes.In snowy Pittsburgh, her American translator Emma hears the news and, against the wishes of her boyfriend and Beatriz's two grown children, flies immediately to Brazil. There, in the sticky, sugary heat of Rio, Emma and her author's children conspire to solve the mystery of Yagoda's curious disappearance and staunch the colorful demands of her various outstanding affairs: the rapacious loan shark with a zeal for severing body parts, and the washed-up and disillusioned editor who launched Yagoda's career years earlier.

    Among them, third-grade teacher Sadie Randolph, who has taught every child in town and believes we are all eight years old in our hearts; Stanley Stone, once Fulton's most prominent lawyer, now feigning dementia to escape life with his son; Marge Walker, the town's self-appointed conveyor of social status who keeps a scrapbook of every local murder and heinous crime; and Rachel Silverman, recently widowed, whose decision to leave her Massachusetts home and settle in Fulton is a mystery to everyone but her. C. J., the pierced and tattooed young mother who runs the beauty shop, and Joanna, the hospice volunteer who discovers that her path to a good life lies with helping folks achieve good deaths, are two of the staff on whom the residents depend.McCorkle puts her finger on the pulse of every character's strengths, weaknesses, and secrets. And, as she connects their lives through their present circumstances, their pasts, and, in some cases, through their deaths, she celebrates the blessings and wisdom of later life and infuses this remarkable novel with hope and laughter.

    The unusual bond between a world-famous children's author and his assistant sets the stage for a richly plotted novel of friendship and love, artistic ambition, and the power of an unexpected legacy.When the revered children's author Mort Lear dies accidentally at the Connecticut home he shares with Tomasina Daulair, his trusted assistant, she is stunned to be left the house and all its contents, as well as being named his literary executor. Though not quite his daughter or his wife, Tommy was nearly everything to the increasingly reclusive Lear, whom she knew for over forty years since meeting him as a child in a city playground where Lear was making sketches for Colorquake, a book that would become an instant classic. Overwhelmed by the responsibility for Lear's bequest, she must face the demands of all those affected by the sudden loss, including the lonely, outraged museum curator to whom Lear once promised his artistic estate; the beguiling British actor recently cast to play Lear in a movie; and her own estranged brother. She must also face the demons of Morty's painful past the subject of that movie and a future that will no longer include him. A visit from the actor leads to revelations and confrontations that challenge much of what Tommy believed she knew about her boss's life and work and, ultimately, about her own."