A collection of 13 richly articulate and remarkably realized stories that confirm Marianne Wiggins as one of the most original voices in American fiction today.
"Eloquent . . . These stories are rich and challenging." —New York Newsday
A survivial handbook. Babe is the oldest story on earth—and the newest. Maggie and Brigand separate and are divorced. The young wife is left with their child and begins the struggle as a mother, a woman at work, and a lover. She learns that if people are constantly renewed—virtually reborn—they can survive. In her first novel, Marianne Wiggins endows this oldest and newest story with freshness and originality.
Before his thirtieth birthday Holden Garfield has already burned out as a journalist in war-torn Bosnia. Returning to the United States, he hopes the familiar sunshine and rolling hills of Virginia will help him put aside the horrors he reported. Instead he finds Melanie, his mentor's sister, who is institutionalized with a mysterious amnesia after her husband and son were killed five weeks earlier by a freak force of nature. Struck as if by lightning by her beauty, Holden sets out to help her reconstruct her past, and the pair is swept up in a passionate love affair—one fighting to remember, the other struggling to forget. With this breakneck story of love and loss, Marianne Wiggins delivers a compelling novel that is a series of powerful metaphors for the curative forces of love as well as her own personal love letter to the American South.
A pandemic has devastated the planet, sorting humanity into two types: the uninfected and the infected, the living and the living dead. After the worst of the plague is over, armed forces stationed in Chinatown’s Fort Wonton have successfully reclaimed the island south of Canal Street—aka Zone One. Mark Spitz is a member of one of the three-person civilian sweeper units tasked with clearing lower Manhattan of the remaining feral zombies. Zone One unfolds over three surreal days in which Spitz is occupied with the mundane mission of straggler removal, the rigors of Post-Apocalyptic Stress Disorder (PASD), and the impossible task of coming to terms with a fallen world. And then things start to go terribly wrong . . .
At once a chilling horror story and a literary novel by a contemporary master, Zone One is a dazzling portrait of modern civilization in all its wretched, shambling glory.
The Noble Hustle is Pulitzer finalist Colson Whitehead’s hilarious memoir of his search for meaning at high stakes poker tables, which the author describes as “Eat, Pray, Love for depressed shut-ins.”
On one level, The Noble Hustle is a familiar species of participatory journalism—a longtime neighborhood poker player, Whitehead was given a $10,000 stake and an assignment from the online magazine Grantland to see how far he could get in the World Series of Poker. But since it stems from the astonishing mind of Colson Whitehead (MacArthur Award-endorsed!), the book is a brilliant, hilarious, weirdly profound, and ultimately moving portrayal of—yes, it sounds overblown and ridiculous, but really!—the human condition. After weeks of preparation that included repeated bus trips to glamorous Atlantic City, and hiring a personal trainer to toughen him up for sitting at twelve hours a stretch, the author journeyed to the gaudy wonderland that is Las Vegas—the world’s greatest “Leisure Industrial Complex”—to try his luck in the multi-million dollar tournament. Hobbled by his mediocre playing skills and a lifelong condition known as “anhedonia” (the inability to experience pleasure) Whitehead did not—spoiler alert!—win tens of millions of dollars. But he did chronicle his progress, both literal and existential, in this unbelievably funny, uncannily accurate social satire whose main target is the author himself. Whether you’ve been playing cards your whole life, or have never picked up a hand, you’re sure to agree that this book contains some of the best writing about beef jerky ever put to paper.
It is a time of calamity in a major metropolitan city's Department of Elevator Inspectors, and Lila Mae Watson, the first black female elevator inspector in the history of the department, is at the center of it. There are two warring factions within the department: the Empiricists, who work by the book and dutifully check for striations on the winch cable and such; and the Intuitionists, who are simply able to enter the elevator cab in question, meditate, and intuit any defects. Lila Mae is an Intuitionist and, it just so happens, has the highest accuracy rate in the entire department. But when an elevator in a new city building goes into total freefall on Lila Mae's watch, chaos ensues. It's an election year in the Elevator Guild, and the good-old-boy Empiricists would love nothing more than to assign the blame to an Intuitionist. But Lila Mae is never wrong. The sudden appearance of excerpts from the lost notebooks of Intuitionism's founder, James Fulton, has also caused quite a stir. The notebooks describe Fulton's work on the "black box," a perfect elevator that could reinvent the city as radically as the first passenger elevator did when patented by Elisha Otis in the nineteenth century. When Lila Mae goes underground to investigate the crash, she becomes involved in the search for the portions of the notebooks that are still missing and uncovers a secret that will change her life forever.
A dead-serious and seriously funny feat of the imagination, The Intuitionist is a brilliant debut by an exceptional young talent. Its sidesplitting humor is accompanied by a sobering examination of race—how it causes people to act and what it causes them to believe about themselves and others. In the tradition of Ralph Ellison, Colson Whitehead artfully crosses back and forth over racial, political, and artistic borders to create a work of stunning depth, soulfulness, and originality, starring one of the most intriguing heroines in contemporary fiction.
In a dazzlingly original work of nonfiction, the award-winning novelist Colson Whitehead re-creates the exuberance, the chaos, the promise, and the heartbreak of New York. Here is a literary love song that will entrance anyone who has lived in—or spent time—in the greatest of American cities.
A masterful evocation of the city that never sleeps, The Colossus of New York captures the city’s inner and outer landscapes in a series of vignettes, meditations, and personal memories. Colson Whitehead conveys with almost uncanny immediacy the feelings and thoughts of longtime residents and of newcomers who dream of making it their home; of those who have conquered its challenges; and of those who struggle against its cruelties. Whitehead’s style is as multilayered and multifarious as New York itself: Switching from third person, to first person, to second person, he weaves individual voices into a jazzy musical composition that perfectly reflects the way we experience the city. There is a funny, knowing riff on what it feels like to arrive in New York for the first time; a lyrical meditation on how the city is transformed by an unexpected rain shower; and a wry look at the ferocious battle that is commuting. The plaintive notes of the lonely and dispossessed resound in one passage, while another captures those magical moments when the city seems to be talking directly to you, inviting you to become one with its rhythms. The Colossus of New York is a remarkable portrait of life in the big city. Ambitious in scope, gemlike in its details, it is at once an unparalleled tribute to New York and the ideal introduction to one of the most exciting writers working today.
The town of Winthrop has decided it needs a new name. The resident software millionaire wants to call it New Prospera; the mayor wants to return to the original choice of the founding black settlers; and the town’s aristocracy sees no reason to change the name at all. What they need, they realize, is a nomenclature consultant. And, it turns out, the consultant needs them. But in a culture overwhelmed by marketing, the name is everything and our hero’s efforts may result in not just a new name for the town but a new and subtler truth about it as well.
The World's Room is a dynamic first collection in which the literary and the personal, the elevated and the slangy, the sacred and the profane are beautifully intertwined. From nursery rhymes to riddles to prose poems, Joshua Weiner's work displays boundless imaginative and linguistic possibilities.
Charles Harper Webb is celebrated for his use of humor; yet even his funniest poems rise, as the best comedy must, out of deep human drives, sorrows, and needs. Powerful immersions in what it means to be human, these poems explore the spectrum of emotions from love to hate, tenderness to brutality. They can be withering and vulnerable in the same breath. Models of clarity and vividness, they are mysterious when they need to be, ranging from lyric to narrative, from realism to wild surreal flights, powered by a fierce, compassionate intelligence. Metaphors of startling aptness and originality, a voice at once endearing and provocative, high musicality, propulsive energy, wild imaginative leaps, as well as mastery of diction from lyricism to street-speak, create a reading experience of the first order. Uniformly fun to read, these poems go down easy, but pack a wallop. As Robert Frost said poetry should do, What Things Are Made Of "begins in delight and ends in wisdom."
