The year is 1878, peak of the Texas cattle trade. The place is Dodge City, Kansas, a saloon-filled cow town jammed with liquored-up adolescent cowboys and young Irish hookers. Violence is random and routine, but when the burned body of a mixed-blood boy named Johnnie Sanders is discovered, his death shocks a part-time policeman named Wyatt Earp. And it is a matter of strangely personal importance to Doc Holliday, the frail twenty-six-year-old dentist who has just opened an office at No. 24, Dodge House. Beautifully educated, born to the life of a Southern gentleman, Dr. John Henry Holliday is given an awful choice at the age of twenty-two: die within months in Atlanta or leave everyone and everything he loves in the hope that the dry air and sunshine of the West will restore him to health. Young, scared, lonely, and sick, he arrives on the rawest edge of the Texas frontier just as an economic crash wrecks the dreams of a nation. Soon, with few alternatives open to him, Doc Holliday is gambling professionally; he is also living with Maria Katarina Harony, a high-strung Hungarian whore with dazzling turquoise eyes, who can quote Latin classics right back at him. Kate makes it her business to find Doc the high-stakes poker games that will support them both in high style. It is Kate who insists that the couple travel to Dodge City, because "that's where the money is." And that is where the unlikely friendship of Doc Holliday and Wyatt Earp really begins--before Wyatt Earp is the prototype of the square-jawed, fearless lawman; before Doc Holliday is the quintessential frontier gambler; before the gunfight at the O.K. Corral links their names forever in American frontier mythology--when neither man wanted fame or deserved notoriety. Authentic, moving, and witty, Mary Doria Russell's fifth novel redefines these two towering figures of the American West and brings to life an extraordinary cast of historical characters, including Holliday's unforgettable companion, Kate. First and last, however, "Doc "is John Henry Holliday's story, written with compassion, humor, and respect by one of our greatest contemporary storytellers.

The Kempton-Wace Letters was a 1903 epistolary novel written jointly by Americans Jack London and Anna Strunsky, then based in San Francisco, California. The novel presents a discussion of the philosophy of love and sex, written in the form of a series of letters between two men, "Herbert Wace," a young scientist, and "Dane Kempton," an elderly poet. Writer Jack London wrote "Wace's" letters, and Anna Strunsky wrote "Kempton's." In the late 19th century, the authors were part of a San Francisco radical literary group known as "The Crowd."Kempton makes the case for feeling and emotion, while Wace proceeds "scientifically" and analyzes love in Darwinian terms:

Written in alternating chapters, W or the Memory of Childhood , tells two parallel tales, in two parts. One is a story created in childhood and about childhood. The other story is about two people called Gaspard Winckler: one an eight-year-old deaf-mute lost in a shipwreck, the other a man despatched to search for him, who discovers W, an island state based on the rules of sport. As the two tales move in and out of focus, the disturbing truth about the island of W reveals itself. Perec combines fiction and autobiography in unprecedented ways, allowing no easy escape from these stories, or from history.

"We have here, then a novelistic document of life, of the inferno of a marriage. ... --a marriage that should never have been contracted nor would have been save for the man's weakness and youthful inexperience."--Preface, p. vii.

Joseph Roth paints a vivid portrait of Emperor Napoleon's last grab at glory, the hundred days spanning his escape from Elba to his final defeat at Waterloo. This particularly poignant work, set in the first half of 1815 and largely in Paris, is told from two perspectives, that of Napoleon himself and that of the lowly, devoted palace laundress Angelica--an unlucky creature who deeply loves him. In The Hundred Days, Roth refracts the deep sorrow of their intertwined fates. Roth's signature lyrical elegance and haunting atmospheric details sing in The Hundred Days. "There may be," as James Wood has stated, "no modern writer more able to combine the novelistic and the poetic, to blend lusty, undamaged realism with sparkling powers of metaphor and simile."

Casanovas Heimfahrt