It's the one day of the year when everyone has a shot at finding true love—even a rapacious, over-sexed turtle god. It's a celebration of hobos and heartbreak, Lionel Richie impersonators and banana-brandy-flavored rice wine. It's The Festival of Earthly Delights.Boyd Darrow is a young American living in Puchai, a tiny Southeast Asian country that tourist brochures refer to as "The Kingdom of Winks." In a series of letters written to a mysterious recipient, Boyd tells of the delights, humiliations and brain-bending misadventures he experiences while adjusting to life in the small college town of Mai Mor. He and his somewhat less-than-faithful girlfriend, Ulla, were hoping to start their lives over in Puchai, but Puchai has an agenda all its own.Ulla's been hired to organize the talent show at the town's annual "Festival of Taang," but she seems more interested in the possibilities of cultural exchange with a local revolutionary. Meanwhile, Boyd grapples with a culture in which baby owls are considered a delicacy, turtles are worshipped as deities, and a wink can have one of 379 possible meanings (including "You're fired," "There's something in my eye," and "I want to kiss your lips!"). He's also falling for his boss's daughter, a half-Puchanese girl with a black eye and a troubling past. Lines are crossed, secrets are revealed, and, as Boyd's life inevitably spins out of control, the Festival draws closer with each day...Hilarious and wise and fiercely original, The Festival of Earthly Delights is a no-holds-barred celebration of love, cultural differences, and one man's reluctant embrace of the sensual pleasures of this world, in all their awkward, enigmatic glory.ADVANCE PRAISE"If Puchai were a real country, I'd be a citizen by now, or at least an illegal alien. What a glorious novel!" —Gary Shteyngart, author of Super Sad True Love Story"Matt Dojny's novel is a true delight. I can't think of any writer since Kingsley Amis who's been able to write high-minded comedy that packs such a punch. I've never enjoyed a comic novel more." —John Wray, author of Lowboy"Matt Dojny's narrator Boyd Darrow is as poetically drawn as J.D. Salinger's Holden Caulfield, and as intimately hilarious as C.D. Payne's Nick Twisp. Dojny has created an entire country filled with characters that are so fresh and endearing, you'll find yourself wishing Puchai were a real place. I love this book." —Kristen Schaal (Flight of the Conchords, The Daily Show)"Comic novels can be whimsical, or clever, or delightful, or witty, or canny, or powerful. Rarely are they all of those things. Matt Dojny's large-hearted, bright-minded novel has drawings and letters and love and loss, and now you do, too." —Ben Greenman, author of What He's Poised to Do and Superbad

    Grant Repka is an obscure indie rock musician who, in his forties, finds his career surprisingly resurrected with the success of his comic operetta about the doomed romance of Tommy Lee and Pamela Anderson. When Grant and Lisa meet after one of his shows, sparks don’t immediately fly—but e-mail addresses are exchanged. A my-book-for-your-CD trade and a couple of e-mails later, Lisa tells Grant that she enjoys his song “My Psycho Ex,” but warns him that where psycho-exes are concerned, she’s pretty sure she “could drink him under the table.”Little does she know that this will become the opening salvo in an epic e-mail battle dubbed the Psycho Ex Game, a storytelling competition in which horrific tales of dysfunctional love and living with lunatics are volleyed with glee. The rules are simple; the point system, unique: the experiences that would normally leave someone running for the therapist’s office (humiliation, degradation, and complicity in psychotic behavior) just might win match point in the Psycho Ex Game. Now it’s Grant vs. Lisa as the wretched tales of his ex, the Junkie Queen of Darkness, vie with the woe inflicted by her ex, a tantrum-throwing actor/director widely known as Mr. Summer Box Office Record-Holder.As the correspondence evolves, it surprises Lisa by offering her the kind of intimacy she has never shared with a man in the same room. Before long, what started as a friendly competition becomes a road map to an unlikely couple’s growing involvement, leaving both Grant and Lisa secretly wondering, “If we were to get involved, which one of us is potentially the next Psycho Ex?”Written in alternating he said/she said chapters, The Psycho Ex Game is shot through with the acerbic humor of Merrill Markoe and the mordant observations that have made Andy Prieboy a literate voice in rock. The Psycho Ex Game is a hilarious dissection of injuries sustained on the front lines of romance—and the careful nursing that gets us battleready once again.From the Hardcover edition.

    Seventy-four-year-old Jules Lacour—a maître at Paris-Sorbonne, cellist, widower, veteran of the war in Algeria, and child of the Holocaust—must find a balance between his strong obligations to the past and the attractions and beauties of life and love in the present.In the midst of what should be an effulgent time of life—days bright with music, family, rowing on the Seine—Jules is confronted headlong and all at once by a series of challenges to his principles, livelihood, and home, forcing him to grapple with his complex past and find a way forward. He risks fraud to save his terminally ill infant grandson, matches wits with a renegade insurance investigator, is drawn into an act of savage violence, and falls deeply, excitingly in love with a young cellist a third his age. Against the backdrop of an exquisite and knowing vision of Paris and the way it can uniquely shape a life, he forges a denouement that is staggering in its humanity, elegance, and truth.In the intoxicating beauty of its prose and emotional amplitude of its storytelling, Mark Helprin’s Paris in the Present Tense is a soaring achievement, a deep, dizzying look at a life through the purifying lenses of art and memory.

    Greenie Duquette, openhearted yet stubborn, devotes most of her passionate attention to her Greenwich Village bakery and her four–year–old son, George. Her husband, Alan, seems to have fallen into a midlife depression, while Walter, a traditional gay man who has become her closest professional ally, is nursing a broken heart.It is at Walter’s restaurant that the visiting governor of New Mexico tastes Greenie’s coconut cake and decides to woo her away from the city to be his chef. For reasons both ambitious and desperate, she accepts—and finds herself heading west without her husband. This impulsive decision will change the course of several lives within and beyond Greenie’s orbit. Alan, alone in New York, must face down his demons; Walter, eager for platonic distraction, takes in his teenage nephew. Yet Walter cannot steer clear of love trouble, and despite his enforced solitude, Alan is still surrounded by women: his powerful sister, an old flame, and an animal lover named Saga, who grapples with demons all her own. As for Greenie, living in the shadow of a charismatic politician leads to a series of unforeseen consequences that separate her from her only child. We watch as folly, chance, and determination pull all these lives together and apart over a year that culminates in the fall of the twin towers at the World Trade Center, an event that will affirm or confound the choices each character has made—or has refused to face.Julia Glass is at her best here, weaving a glorious tapestry of lives and lifetimes, of places and people, revealing the subtle mechanisms behind our most important, and often most fragile, connections to others. In The Whole World Over she has given us another tale that pays tribute to the extraordinary complexities of love.

    We're 40,000 years overdue. A LAND OF ASH Lava flows stretch for hundreds of miles. A cloud of ash billows east, burying the Midwest, destroying crops, and falling upon the Pacific Coast like a warm, dead snow. The remnants of the United States flees south as the global temperatures plummet. Amid this total devastation are stories of families, friends, sons and fathers and wives: the survivors. Within are eleven stories focusing on the human element of such a catastrophe, from an elderly couple gathering to await their death to a father sealing his shelter in hopes of keeping the air breathable for his daughter. Contributing to this collection include many popular and up-and-coming independent authors, including David McAfee, Daniel Arenson, and more.

    Barbecue-Smith, who writes 1,500 publishable words an hour by "getting in touch" with his "subconscious," to Henry Wimbush, who is obsessed with writing the definitive "History of Crome." Denis's stay proves to be a disaster amid his weak attempts to attract the girl of his dreams and the ridicule he endures regarding his plan to write a novel about love and art. Lambasting the post-Victorian standards of morality, Crome Yellow is a witty masterpiece that, in F. Scott Fitzgerald's words, "is too ironic to be called satire and too scornful to be called irony."

    But when Teddy dies of an overdose on the last day of 1987, Jude's relationship with drugs and with his parents devolves to new extremes. Sent to live with his pot-dealing father in New York City's East Village, Jude stumbles upon straight edge, an underground youth culture powered by the paradoxical aggression of hardcore punk and a righteous intolerance for drugs, meat, and sex. With Teddy's half brother, Johnny, and their new friend, Eliza, Jude tries to honor Teddy's memory through his militantly clean lifestyle. But his addiction to straight edge has its own dangerous consequences. While these teenagers battle to discover themselves, their parents struggle with this new generation's radical reinterpretation of sex, drugs, and rock 'n' roll and their grown-up awareness of nature and nurture, brotherhood and loss.Moving back and forth between Vermont and New York City, Ten Thousand Saints is an emphatically observed story of a frayed tangle of family members brought painfully together by a death, then carried along in anticipation of a new and unexpected life. With empathy and masterful skill, Eleanor Henderson has conjured a rich portrait of the modern age and the struggles that unite and divide generations.

    Adolf Hitler wakes up from a 66-year sleep in his subterranean Berlin bunker to find the Germany he knew entirely changed: Internet-driven media spreads ideas in minutes and fumes celebrity obsession; immigration has produced multicultural neighborhoods bringing together people of varying race, ethnicity, and religion; and the most powerful person in government is a woman. Hitler is immediately recognized . . . as an impersonator of uncommon skill. The public assumes the fulminating leader of the Nazi party is a performer who is always in character, and soon his inevitable viral appeal begets YouTube stardom, begets television celebrity on a Turkish-born comedian's show. His bigoted rants are mistaken for a theatrical satire--exposing prejudice and misrepresentation--and his media success emboldens Hitler to start his own political party and set the country he finds a shambles back to rights. With daring and dark humor, Look Who's Back skewers the absurdity and depravity of the cult of personality in modern media culture.

    She has entered, she realizes, a parallel existence, which she calls 1Q84 —“Q is for ‘question mark.’ A world that bears a question.” Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled. As Aomame’s and Tengo’s narratives converge over the course of this single year, we learn of the profound and tangled connections that bind them ever closer: a beautiful, dyslexic teenage girl with a unique vision; a mysterious religious cult that instigated a shoot-out with the metropolitan police; a reclusive, wealthy dowager who runs a shelter for abused women; a hideously ugly private investigator; a mild-mannered yet ruthlessly efficient bodyguard; and a peculiarly insistent television-fee collector.A love story, a mystery, a fantasy, a novel of self-discovery, a dystopia to rival George Orwell’s — 1Q84 is Haruki Murakami’s most ambitious undertaking yet: an instant best seller in his native Japan, and a tremendous feat of imagination from one of our most revered contemporary writers.

    Tobias is obsessed with two things: God and girls. Mostly girls, of course. But being a Baptist preacher's son, he can't escape God. When his father is blinded in a bizarre accident (involving hard cider and bird droppings), Tobias must ride the rails to Texas to recover a long-hidden stash of money. Along the way, he's initiated into the hobo brotherhood by Craw, a ribald vagabond-philosopher. Obstacles arise in the form of a saucy prostitute, a flaming boxcar, and a man-eating catfish. But when he meets Sarah, a tough farm girl under a dark curse, he finds out that the greatest challenge of all is love.

    They live in a decommissioned church in the middle of America, with a radar dish on its steeple and a spaceship in the sanctuary. Their children have the run of the house when Dash and Dot are away. When a couple of UFO groupies show up looking for the extraterrestrial duo, they find instead a nuclear family—or rather, a family gone nuclear—whose comically discomforting world resembles our own as much as it does another world altogether.

    She is an outsider wherever she goes, caught between being black and white, American and not. She tries to connect these dislocated pieces of her life, and as her mother succumbs to cancer, Thandi searches for an anchor—someone, or something, to love. In arresting and unsettling prose, we watch Thandi’s life unfold, from losing her mother and learning to live without the person who has most profoundly shaped her existence, to her own encounters with romance and unexpected motherhood. Through exquisite and emotional vignettes, Clemmons creates a stunning portrayal of what it means to choose to live, after loss. An elegiac distillation, at once intellectual and visceral, of a young woman’s understanding of absence and identity that spans continents and decades, What We Lose heralds the arrival of a virtuosic new voice in fiction.

    In 1936, Shostakovitch, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, executed on the spot), Shostakovitch reflects on his predicament, his personal history, his parents, various women and wives, his children—and all who are still alive themselves hang in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, for decades to come he will be held fast under the thumb of despotism: made to represent Soviet values at a cultural conference in New York City, forced into joining the Party and compelled, constantly, to weigh appeasing those in power against the integrity of his music. Barnes elegantly guides us through the trajectory of Shostakovitch's career, at the same time illuminating the tumultuous evolution of the Soviet Union. The result is both a stunning portrait of a relentlessly fascinating man and a brilliant exploration of the meaning of art and its place in society.

    As the wait for his father stretches unforgivably into months, a local girl, whose own mother died a brutal death, captures his heart and imagination, reminding Wes that hope always floats to the surface.When buried truths come to light in the spring thaw, wounds are exposed and violence erupts, forcing Wes to embark on a search for his missing father, the truth about his mother, and a future he must claim for himself—a quest that begins back at that frozen lake.A powerful, page-turning coming-of-age story, Winter Loon captures the resilience of a boy determined to become a worthy man by confronting family demons, clawing his way out of the darkness, and forging a life from the shambles of a broken past.

    He misses the routine of the academic year and has lost his appetite for research. His wife Winifred’s late-flowering career goes from strength to strength, reducing his role to that of escort, while the rejuvenation of her appearance makes him uneasily conscious of the age gap between them. The monotony of his days is relieved only by wearisome journeys to London to check on his aged father who stubbornly refuses to leave the house he is patently unable to live in with safety.But these discontents are nothing compared to the affliction of hearing loss — a constant source of domestic friction and social embarrassment, leading Desmond into mistakes, misunderstandings and follies. It might be comic for others, but for the deaf person himself, it is no joke. It is his deafness which inadvertently involves Desmond with a young woman whose wayward behaviour threatens to destabilize his life completely.