ONE OF THE NEW YORK TIMES’ 100 BEST BOOKS OF THE 21ST CENTURY “A master novelist's haunting parable about our troubled modern moment." —The Wall Street Journal “By turns unnerving, hilarious, and sad. . . . It is a book that shows how the public zeitgeist can shape, even destroy, an individual's life." —The New York Times “The best novel he has written.” —The Times Literary Supplement It is 1998, the year in which America is whipped into a frenzy of prurience by the impeachment of a president, and in a small New England town, an aging classics professor, Coleman Silk, is forced to retire when his colleagues decree that he is a racist. The charge is a lie, but the real truth about Silk would have astonished even his most virulent accuser. Coleman Silk has a secret, one which has been kept for fifty years from his wife, his four children, his colleagues, and his friends, including the writer Nathan Zuckerman. It is Zuckerman who stumbles upon Silk’s secret and sets out to reconstruct the unknown biography of this eminent, upright man, esteemed as an educator for nearly all his life, and to understand how this ingeniously contrived life came unraveled.

Murder, marriage, and metaphysics link the bizarre series of events in this high-spirited comedy, winner of the Evening Standard's Best Play Award. George Moore is an aging professor of moral philosophy whose quest to compose a lecture on "Man--Good, Bad, or Indifferent?" is put on hold while he ponders the existence of his sock. He is joined by his youthful wife, Dotty, a former musical star on a downward spiral whose charm may explain the corpse in the next room; George's specially trained hare, Thumper; and a chorus of poorly trained gymnasts whose exploits set the stage for this topsy-turvy world. --from Amazon

Poems deal with loneliness, the past, animals, dreams, war, art, writers, letters, history, welfare, aging, workers, and the imagination

"A polyphonic novel set over the course of three days, Midnight is Not in Everyone's Reach is a stunning meditation on memory and time from Antonio Lobo Antunes, considered by many to be Portugal's greatest living writer. The year is 2011, and our aging narrator has returned to Alto da Vigia to say goodbye to the house where her family spent summers during her childhood. Divided into three sections, one for each day that she spends at the home, Midnight is Not in Everyone's Reach unspools in torrents of dialogue and surreal, feverish scenarios. Over these three days, the dead return to life, time splinters and freezes, and conversations flow from the past into the present and back again, as we journey across the narrator's corrosive psyche toward our real destination-the place inside herself where the family's grief-stricken secrets are kept"--

As spare and elegant as her highly praised short novels Light and Waking , Eva Figes's Ghosts captures the experience of aging. In prose that seems to measure the very beat of passing time, we follow her heroine, an unnamed woman, through four seasons of a single year and watch her come to terms with her former lover, her grown children, and, finally, the ghostly self that she is slowly becoming. She moves through streets that have changed their contours, landscapes in constant flux, in a body slowly turning into her mother's.As her character poignantly lets go of possessions, memories, and all that she holds dear, Figes turns the ordinary occurrences of daily life – eating breakfast, having tea, weeding a garden – into luminous events through the clarity and beauty of her writing.

In this illuminating philosophical book, Jabes, who died in 1991 and lived in France after being forced to leave Egypt with other native-born Jews during the Suez War, ruminates on the link between being Jewish and being mislabeled as a foreigner. It is also an indictment of bigotry. Jabes writes, "the basic racist is the man who refuses himself as he is. . . . The antisemite can never forgive the Jews for being capable of self-realization . . . . " Elsewhere he observes in verse on his own experience of exile: "I left a land not mine / for another, not mine either. / I took refuge in a word of ink with the book for space, / word from nowhere, obscure word of the desert. " His seamless style brings to mind both religious and French existential writings, although some musings reach heights too abstract to follow: "We must from now on grant citizen's rights to the foreigner's new name: the foreign I . / Foreign Me, foreign You designated by the I. " Here, too, Jabes ( The Book of Questions ) evokes powerful images of the desert to underscore a mood of isolation and comments wisely about aging and power. --