The best stories pull readers in and keep them turning the pages, eager to find the answer to the question, “And then what happened?” Edited by Neil Gaiman, a literary magician whose acclaimed work defies easy categorization and transcends all boundaries, and “master anthologist” (Booklist) Al Sarrantonio, Stories is a groundbreaking collection that reinvigorates and expands the boundaries of imaginative fiction, affording some of the best writers in the world—from Peter Straub and Chuck Palahniuk to Roddy Doyle and Diana Wynne Jones, Stewart O’Nan and Joyce Carol Oates to Walter Mosley, Jodi Picoult, the volume’s editors, and others—the opportunity to work together, defend their craft, and realign misconceptions. A brilliant and visionary compendium of diverse tales, Stories will transform your view of the world and ignite a new appreciation for the limitless realm of exceptional fiction.

A retrospective article on Leslie Fiedler in the New York Times Book Review in 1965 referred to Love and Death in the American Novel as "one of the great, essential books on the American imagination . . . an accepted major work." This groundbreaking work views in depth both American literature and character from the time of the American Revolution to the present. From it, there emerges Fiedler's once scandalous--now increasingly accepted--judgment that our literature is incapable of dealing with adult sexuality and is pathologically obsessed with death.

"It's March 2020 and a calamity is unfolding. A group of friends and friends-of-friends gathers in a country house to wait out the pandemic. Over the next few months new bonds of friendship and love will take hold, while old betrayals will emerge among this unlikely cast of characters, each richly drawn and achingly human: a Russian-born novelist; his Russian-born psychiatrist wife; their precocious child obsessed with K-pop; a struggling Indian American writer; a wildly successful Korean American app developer; a global dandy with three passports; a young flame-thrower of an essayist, originally from the Carolinas; and a movie star, The Actor, whose arrival upsets the equilibrium of this chosen family"--

"Oy! to the world. Rachel Rubenstein-Goldblatt is a nice Jewish girl with a shameful secret: she loves Christmas. For a decade she’s hidden her career as a Christmas romance novelist from her family. Her talent has made her a bestseller even as her chronic illness has always kept the kind of love she writes about out of reach. But when her diversity-conscious publisher insists she write a Hanukkah romance, her well of inspiration suddenly runs dry. Hanukkah’s not magical. It’s not merry. It’s not Christmas. Desperate not to lose her contract, Rachel’s determined to find her muse at the Matzah Ball, a Jewish music celebration on the last night of Hanukkah, even if it means working with her summer camp archenemy—Jacob Greenberg. Though Rachel and Jacob haven’t seen each other since they were kids, their grudge still glows brighter than a menorah. But as they spend more time together, Rachel finds herself drawn to Hanukkah—and Jacob—in a way she never expected. Maybe this holiday of lights will be the spark she needed to set her heart ablaze" -- back cover.

In a novel about being an outsider in America and what it means to be an American, Vladimir, a young Russian-American immigrant, pursues his dreams of success, wealth, and a girlfriend, as his quest takes him deep into uncharted territory.

In snowy upstate New York, Ari, a struggling mother of a one-year-old, and Mina, a nine-months-pregnant woman who is new to town, become comrades-in-arms.--Provided by publisher.

Bellow's second novel charts the descent into paranoia of Asa Leventhal, sub-editor of a trade magazine. With his wife away visiting her mother, Asa is alone, but not for long. His sister-in-law summons him to Staten Island to help with his sick nephew. Other demands mount, and readers witness a man losing control. Copyright © Libri GmbH. All rights reserved.

The third volume of the Library of America's edition of Saul Bellow's complete novels collects three essential works: Mr. Sammler's Planet (1970), Humboldt's Gift (1975) -- and The Dean's December (1982). In each, Bellow shows himself a master of biting social commentary and bold characterization--above all through a trio of unforgettable protagonists. These novels, written in the period of Bellow's greatest literary and popular acclaim--he was awarded the Nobel Prize in Literature in 1976--are unsparing yet humane, and range widely in their philosophical and cultural concerns. They offer the indispensable voice of a great American raconteur and thinker.

Celebrates the fiftieth anniversary of "The Adventures of Augie March," and reflects the mid-twentieth-century's psychological turmoil from more inhibited times in a volume that also includes "The Victim" and "Dangling Man."

The twenty-five years after the Second World War were a lively and fertile period for the American novel and an era of momentous transformation in American society. Taking his title from the Kafka parable about the leopards who kept racing into the courtyard of the temple, disrupting the sacrifice, until they were made part of the ritual, Morris Dickstein shows how a daring band of outsiders reshaped the American novel and went on to dominate American fiction for the rest of the century. In fluid prose, offering a social as well as a literary history, Dickstein provides a wide-ranging and frank reassessment of more than twenty key figures-including Jewish writers like Norman Mailer, Saul Bellow, and Philip Roth; African-Americans such as Ralph Ellison and James Baldwin; colorful emigrés like Vladimir Nabokov; and avatars of a new youth culture, including J. D. Salinger and Jack Kerouac. Disputing the received wisdom about the culture of the Cold War, Dickstein shows why artists turned inward after the war and demonstrates how the writing of the 1960s emerged from the cultural ferment of the preceding decades, including road novels, avant-garde painting, bebop, film, psychoanalysis, and social changes that continue to affect us today.

Masterly collection of short stories by an American novelist at the height of her powers. It is the stories upon which Cynthia Ozick's literary reputation rests. She writes about bitterness, cruelty and compulsion with brutal acuity and tenderness. She has created a timeless collection in which Greek mythology, superstition and the religious and cultural experience of the Jewish diaspora in America collide. The Pagan Rabbi is seduced by a tree sprite after seeing his daughter rescued from drowning by a water sprite. Such ecstasy is not permitted to mortals and so the scholar must die. He hangs himself with his prayer shawl as he watches the strangely beautiful nymph decay. In Envy, a Yiddish poet who watches the success of a contemporary, becomes very like a character in an I.B. Singer story entrapped by his anguish and haunted by the memory of a child. In the Doctor's Wife, the most gentle of the stories, a poor doctor not unlike Chekhov endures family life in which he is adored by his three sisters and oppressed by his family obligations. In these stories, we see Ozick defining herself and her literary territory. The stories may be read purely as evocations of Jewish experience, where time seems to have by-passed these characters. In the Butterfly and the Traffic Light, Jerusalem is seen upon a hill as only it can be in legend, and America is said not to have cities scarred by battles. This is a dazzling collection of short stories by an internationally celebrated novelist.

In 1755 on a mission of revenge, and in the guise of English businessman Sebastian Foxx, exiled Sebastião Raposa returns to Lisbon, stalking the ruthless Inquisitor priest Pedro Azinheiro who imprisoned his parents ten years earlier. When a twist of fate turns his carefully laid plans to chaos, he will be forced to choose between surrendering to bloodlust or serving the cause of mercy.

A charming and undeniably powerful debut novel set in Berlin, "This Must Be the Place" chronicles the friendship between a fading actor and a young married American woman who are both learning to live with the past.

Constantly trying to fend off attempts by her daughter to move her into assisted living, Esther Lustig, an elderly Jewish woman, finds herself lost in a world which has disappeared along with many who had inhabited it.

Novel Gazing is the first collection of queer criticism on the history of the novel. The contributors to this volume navigate new territory in literary theory with essays that implicitly challenge the "hermeneutic of suspicion" widespread in current critical theory. In a stunning introductory essay, Eve Kosofsky Sedgwick delineates the possibilities for a criticism that would be "reparative" rather than cynical or paranoid. The startlingly imaginative essays in the volume explore new critical practices that can weave the pleasures and disorientations of reading into the fabric of queer analyses. Through discussions of a diverse array of British, French, and American novels—including major canonical novels, best-sellers, children’s fiction, and science fiction—these essays explore queer worlds of taste, texture, joy, and ennui, focusing on such subjects as flogging, wizardry, exorcism, dance, Zionist desire, and Internet sexuality. Interpreting the works of authors as diverse as Benjamin Constant, Toni Morrison, T. H. White, and William Gibson, along with canonical queer modernists such as James, Proust, Woolf, and Cather, contributors reveal the wealth of ways in which selves and communities succeed in extracting sustenance from the objects of a culture whose avowed desire has often been not to sustain them. The dramatic reframing that these essays perform will make the significance of Novel Gazing extend beyond the scope of queer studies to literary criticism in general. Contributors . Stephen Barber, Renu Bora, Anne Chandler, James Creech, Tyler Curtain, Jonathan Goldberg, Joseph Litvak, Michael Lucey, Jeff Nunokawa, Cindy Patton, Jacob Press, Robert F. Reid-Pharr, Eve Kosofsky Sedgwick, Melissa Solomon, Kathryn Bond Stockton, John Vincent, Maurice Wallace, Barry Weller

At Harvard in the early 1950s, three mismatched freshmen are thrown together as roommates--Sam, an aristocratic Yankee; Archie, an affable Army brat; and Henry, a Polish refugee--in the story of their college years and their unique friendship.

"A stunning novel about childhood, marriage, and divorce by one of the most interesting minds of the 20th century, now back in print for the first time since 1969. Sophie Blind is starting a new life. She has left her husband Ezra and taken her three children to Paris. She has lovers there and another in New York. She is lecturing and writing. And she is compulsively reviewing her own history, having resumed the "lifelong struggle" of "coming into consciousness." The task of reclaiming her existence is all the more urgent because, even as Sophie Blind undertakes this necessary transformation-Sophie Blind is dead. Dream and reality overlap in Divorcing, a book in which divorcing is not just a matter of marital collapse but names a rift that runs right through the inner and outer worlds of its brilliant but desperate protagonist. Can the rift be mended? Perhaps in the form of a novel, one that goes back from present day New York to her childhood in pre-World War II Budapest, that revisits the divorce between her Freudian father and her fickle mother, and finds a place for a host of further tensions and contradictions of Sophie's life now. The question that haunts Divorcing, however, is whether any novel can be fleet and bitter and true and light enough to gather up all the darkness of a given life. Susan Taubes's startlingly original novel was published in 1969 but largely ignored; after the author's tragic early death, it was forgotten. Its republication presents a chance to rediscover a dazzling intense and inventive writer whose work in many ways anticipates the fragmentary, glancing, lyrical novels that Renata Adler and Elizabeth Hardwick would write in the 1970s"--

Originally published in 1948, this powerful novel follows a U.S. Army infantry battalion in Europe through the last months of the Second World War - through the Battle of the Bulge, the Allied sweep across Germany, and the discovery of the Nazi death camps. Jacob Levy, a young soldier from St. Louis, has never given much thought to politics, world affairs, or his own Jewish heritage, but after the liberation of Dachau, he confronts the horror of the Holocaust and takes his own violent revenge. Jolted into a new understanding of humanity's connectedness, he comes to terms with his own Jewish identity and grapples with questions of individual moral responsibility that are still contemporary fifty years later. In her afterword, Martha Gellhorn traces the roots of the novel in her own experience as a war correspondent who first heard of the Nazi concentration camps during the Spanish Civil War and herself got to Dachau a week after American soldiers discovered the camp at the end of a village street.

A young Jewish couple vows to raise an eight-year-old black girl true to her own culture and heritage, in a novel about racial prejudice and intolerance

This book has been written with the narrow conviction that if Native American literature is worth thinking about at all, it is worth thinking about as literature. The vast majority of thought that has been poured out onto Native American literature has puddled, for the most part, on how the texts are positioned in relation to history or culture. Rather than create a comprehensive cultural and historical genealogy for Native American literature, David Treuer investigates a selection of the most important Native American novels and, with a novelist's eye and a critic's mind, examines the intricate process of understanding literature on its own terms. Native American Fiction: A User's Manual is speculative, witty, engaging, and written for the inquisitive reader. These essays--on Sherman Alexie, Forrest Carter, James Fenimore Cooper, Louise Erdrich, Leslie Marmon Silko, and James Welch--are rallying cries for the need to read literature as literature and, ultimately, reassert the importance and primacy of the word. --Publisher.