Through a series of captivating and sophisticated illustrated stories, Tan explores the precious strangeness of our existence. He gives us a portrait of modern suburban existence filtered through a wickedly Monty Pythonesque lens. Whether it’s discovering that the world really does stop at the end of the city’s map book, or a family’s lesson in tolerance through an alien cultural exchange student, Tan’s deft, sweet social satire brings us face-to-face with the humor and absurdity of modern life.

    Opening the flaps on this unique little book, readers will find themselves immersed in the strange world of best-selling Haruki Murakami's wild imagination.The story of a lonely boy, a mysterious girl, and a tormented sheep man plotting their escape from a nightmarish library, the book is like nothing else Murakami has written. Designed by Chip Kidd and fully illustrated in full color throughout, this small format, 96-page volume is a treat for book lovers of all ages.

    In Ron Currie's provocative, wise, and emotionally resonant novel we meet God himself; the Dinka woman whose mortality He must suffer when He inhabits her body; people all over the world coping with the devastating news of God's demise; a group of young men who, fearing the end of the world, take fate into their own hands; mental patients who insist that a god still exists; armies taking up the eternal war between fate and free will; and parents who, in the absence of a deity and the “lack of anything to do on Sundays,” worship their children. On the surface, this is a world utterly transformed—yet certain things remain unchanged: protective parents clash with willful, idealistic teenagers; idols are exalted; small-town rumor mills run unabated; and children often don't realize how to forgive their parents until it's too late.In God Is Dead, Currie brings together a prescient satirical gift worthy of Jonathan Swift, the raw appeal of Chuck Palahniuk's blackest comedy, and the thought-provoking ethical questions of Kurt Vonnegut, all with a light touch, empathy, and wisdom that make for an exhilarating reading experience. Offbeat yet accessible, God Is Dead is an exciting debut from a fresh new voice in contemporary fiction.

    From the wild and wacky world of a favorite funnyman, a dozen truer-than-life tales of tailgating on the Jersey Tumpike, infuriating infants, and other everyday catastrophes, defeats, and humiliations that are the familiar fate of Americans everywhere.

    The Complete Crumb Comics: The Early Years of Bitter Struggle is the first of a multivolume series, and includes previously unpublished strips created from 1958 to 1962. Crumb's earliest works, some written when he was as young as 15, range from an encounter with Dracula ("I didn't try to escape Dracula, my mind was consentrated [sic] on one thing . . . I was thirsty . . . very thirsty") to Nikita Khrushchev's 1958 visit to the U.S. ("Ever watchful guards stay with Khruschev during a refreshing hot bath."). Crumb aficionados and neophytes alike should rejoice in this classic collection of comic strips; sketchbooks; underground comics; dramatic and autobiographical strips; classic cartoon creations Fritz the Cat and Mr. Natural; and a pithy, biographical preface by Crumb's friend Marty Pahls.

    He came of age during the Haight-Ashbury period and has been called “the last of the Beats.” His early books became required reading for the hip generation, and on its publication Trout Fishing in America became an international bestseller. An indescribable romp, the novel is best summed up in one word: mayonnaise. This new edition includes an introduction by the poet Billy Collins, who first encountered Brautigan’s work as a student in California.

    In This Is Pleasure, she considers our present moment through the lens of a particular #MeToo incident. The effervescent, well-dressed Quin, a successful book editor and fixture on the New York arts scene, has been accused of repeated unforgivable transgressions toward women in his orbit. But are they unforgivable? And who has the right to forgive him? To Quin’s friend Margot, the wrongdoing is less clear. Alternating Quin’s and Margot’s voices and perspectives, Gaitskill creates a nuanced tragicomedy, one that reveals her characters as whole persons—hurtful and hurting, infuriating and touching, and always deeply recognizable. Gaitskill has said that fiction is the only way that she could approach this subject because it is too emotionally faceted to treat in the more rational essay form. Her compliment to her characters—and to her readers—is that they are unvarnished and real. Her belief in our ability to understand them, even when we don’t always admire them, is a gesture of humanity from one of our greatest contemporary writers.

    Filled with an abiding sense of love and family, and of the forces that test them to the breaking point, Wildlife—first published by Atlantic Monthly Press in 1990 and now reissued as a Grove Press paperback—is a book whose spare poetry and expansive vision established it as an American classic.

    Entire relationships are encapsulated in a few, stingingly perfect lines: "Colleen was Walter's ex-girlfriend from med school. She loved to dance with men at weddings." Pricking our insecurities, Shapton introduces us to Kim, whose ex "kept a drawerful of love letters in a kitchen drawer . . . She would stare at it while she cooked." And Ben's ex, "a physiotherapist for the U.S. men's and women's Olympic swim teams. She wore small white shorts year-round."Fascinated by her own jealousy, Shapton interviewed acquaintances about their anxieties and peccadilloes, and the result is a book of surpassing originality: one of those unusual books that comes along to delight us all, like An Exaltation of Larks or Love, Loss, and What I Wore or Griffin and Sabine. Was She Pretty? can also share the shelf with the work of the legendary William Steig, whose early, psychologically revealing work inspired Shapton. An unflinching observer of human behavior, she invites us to peer into the hearts and minds of her characters--while reminding us that we shouldn't be surprised if we see ourselves staring right back.

    The birthplace and graveyard of American myths and dreams, the city harbours a group of people trapped between the beauty of their surroundings and their own moral impoverishment. This novel is a chronicle of their voices.

    Often imitated but never duplicated, Pekar proved that he still has the power to "make mundane reality seem like the highest drama" (Entertainment Weekly) in his critically acclaimed Vertigo series.Now, Harvey Pekar is back with an all-new volume of AMERICAN SPLENDOR, featuring his funniest, most poignant, somber and uplifting stories from the complex life of an ordinary man. Once again, AMERICAN SPLENDOR pairs Harvey with some of the most exciting, innovative artists currently in comics, including David Lapham (YOUNG LIARS, Stray Bullets), Darick Robertson (THE BOYS), Chris Weston (THE FILTH, Fantastic Four), Dean Haspiel (THE QUITTER, THE ALCOHOLIC), Warren Pleece (INCOGNEGRO), longtime Pekar collaborators Greg Budgett and Gary Dumm, and other luminaries from both the mainstream and indie worlds.

    Sophie, a provincial girl, is swept up in the glamour of Belle poque Paris but discovers that loving a feted artist like Edouard brings undreamt of complications. Following in Sophie's footsteps a hundred years later, Liv, after a whirlwind romance, finds her Parisian honeymoon is not quite the romantic getaway she had been hoping for...This enthralling self-contained story will have you falling in love with Liv and Sophie, and with Paris then and now, and it is the perfect appetizer for the The Girl You Left Behind, a spellbinding story of love, devotion and passion in the hardest of times.

    It is voiced in first-person by an anonymous narrator often using jargon, broken grammar and punctuation with a poetry-like structure. The narration shifts quickly from random idea to idea with little to no connectivity between them, typically giving vivid descriptions of abstract situations. The narrative styles in the book vary significantly as well, with no apparent solid identity to the narrator itself. Some characters and ideas emerge suddenly and disappear without explanation.Within this form incorporate elements of science fiction, cyberpunk, tabloid journalism, and advertising slogans. Due to its use of pop-culture references (e.g. to kung-fu films) and literary allusions it requires knowledge of (then) current affairs. Leyner resorts to irony and humor as a means of interplay with traditional realism.-Wikipedia

    Her men and women still miscommunicate, still remain separate in different rooms, different houses, or even different worlds. With brilliant flashes of fantasy, humor, and unexpected violence, the stories reveal the complexities of human relationships and bring to life characters who touch us deeply, evoking terror and laughter, compassion and recognition--and dramatically demonstrate why Margaret Atwood is one of the most important writers in English today.

    The Adventuress follows the dreamlike journey of an alchemist’s daughter. After she is kidnapped by a lascivious baron, she turns herself into a moth and flees to the garden of a charming butterfly collector named Napoleon Bonaparte. The story of how the two become lovers, and how their affair ends in tragedy and transcendence, is told through Niffenegger’s spare prose and haunting aquatint etchings. With a stunning and distinctive visual style reminiscent of the work of Edward Gorey, this gothic romance packs the emotional heft of the world’s great fairy tales. It will delight fans of the author’s previous works and enchant an entirely new legion of readers.