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Mixed Realism is about how we interact with media. Timothy J. Welsh shows how videogames, like novels, both promise and trouble experiences of “immersion.” His innovative methodology offers a new understanding of the expanding role of virtuality in contemporary life. 

Today’s wired culture is a mixed reality, conducted as exchanges between virtual and material contexts. We make balance transfers at an ATM, update Facebook timelines, and squeeze in sessions of Angry Birds on the subway. However, the “virtual” is still frequently figured as imaginary, as opposed to “real.” The vision of 1990s writers of a future that would pit virtual reality against actual reality has never materialized, yet it continues to haunt cultural criticism. Our ongoing anxiety about immersive media now surrounds videogames, especially “shooter games,” and manifests as a fear that gamers might not know the difference between the virtual world and the real world.

As Welsh notes, this is the paradox of real virtuality. We understand that the media-generated virtualities that fill our lives are not what they represent. But what are they if they are not real? Do they have presence, significance, or influence exceeding their material presence and the user processes that invoke them? What relationships do they establish through and beyond our interactions with them?

Mixed Realism brims with fresh analyses of literary works such as Truman Capote’s In Cold Blood and Mark Z. Danielewski’s House of Leaves, along with sustained readings of controversial videogames such as Super Columbine Massacre and Call of Duty: Modern Warfare 2. Continually connecting the dots between surprising groupings of texts and thinkers, from David Foster Wallace to the cult-classic videogame Eternal Darkness and from Cormac McCarthy to Grand Theft Auto, it offers a fresh perspective on both digital games and contemporary literature.

This edition of Moby-Dick, released in honor of the book's sesquicentennial, is the authoritative text of one of the world's great adventure stories. A crew of whalers sets out in pursuit of a fierce white whale. Their names ring through the canon of American literature: Ishmael, the narrator; Queequeg, a South Seas harpooner; Starbuck, the sober and serious chief mate; and above all Captain Ahab, part-Faust and part-Job, obsessed with the destruction of his foe.

This text of Moby-Dick is an Approved Text of the Center for Scholarly Editions (Modern Language Association of America).

In Moby Dick Melville set out to write a "mighty book" on "a mighty theme." The editors of this critical text affirm that he succeeded. Nevertheless, their prolonged examination of the novel reveals textual flaws and anomalies that help to explain Melville's fears that his great work was in some ways a hash or a botch. A lengthy historical note also gives a fresh account of Melville's earlier literary career and his working conditions as he wrote; it also analyzes the book's contemporary reception and outlines how it finally achieved fame. Other sections review theories of the book's genesis, detail the circumstances of its publication, and present documents closely relating to the story.

This scholarly edition is based on collations of both editions published during Melville's lifetime, it adopts 185 revisions and corrections from the English edition and incorporates 237 emendations by the series editors. This is an Approved Text of the Center for Editions of American Authors (Modern Language Association of America).

The first novel by the preeminent Slovenian author Drago Jančar to be published in English, Mocking Desire is a brilliant exploration of conflicting states of experience and comprehension.

Gregor Gradnik, a Slovenian writer, enters the sensual and seething life of New Orleans to teach a creative writing class at a university. Gregor at first acts as only an observer, yet seductive New Orleans soon draws him into a series of bizarre erotic, professional, and social relationships. A profound and entertaining work, Mocking Desire provides the English-speaking world with the perfect introduction to one of Eastern Europe's leading writers.

An examination of the origins and evolution of modernism in American verse from Dickinson to the objectivist movement, this book offers imaginative readings of those writers who helped create a distinctive American poetic voice.

Two men talk in Tokyo. One, a Belgian, is a diplomat. The other, Dutch, is a photographer. What, they wonder, is the real face of Japan? How can they get beyond the European idea of the nation and its people—with its exoticism—and see Japan as it truly is? The Belgian has an idea: he helps the photographer find a model to shoot in front of Mount Fuji as the “typical Japanese.” The plan works better than either had imagined—in fact, it works too well: the photographer falls in love, neglects his friend and his career, and, feeling out of place and disillusioned in Holland, returns to Japan as often as possible over the next five years. A reunion is planned: the three will meet again at Mount Fuji. Time, it seems, has stood still . . . except the woman has a secret, and plans of her own.

This moving novel of obsession and difference is the latest masterwork from one of the greatest European writers working today, redolent with the power of desire and alive to the limits of our understanding of others.

Monkey Secret collects three short stories and a powerful novella by the Cherokee-German-English poet and prose writer Diane Glancy. Her tales of Native American life explore that essential American territory, the border-between: between past and present, between native and immigrant cultures, between self and society.

An actor of traditional Hindu dramas meets an adolescent girl who turns out to be his half-sister. A man returns to Goa from Mozambique to father a child for a family whose unmarried daughters has produced no heirs. Another man feels out of place in his family home after returning from Portugal to get a university education, as a woman waits faithfully for him to return. A forbidden romance blooms between a Christian girl and a Hindu boy.
 
Through these stories, written with a mix of poignant nostalgia and sharp criticism, Vimala Devi recreates the colonial Goa of her childhood. First published in 1963, two years after the Portuguese colony became part of India, Monsoon is a cycle of twelve stories that vary in tone. By turns satirical, desolate, tender, humorous, and dramatic, they come together through a subtle interplay of echoes, parallels and cross-references to form a composite picture of a world gone by. They delve into divisions of caste, religion, language, and material privilege, setting them off against a common historical experience and deeply felt attachment to the land.
 
Including a critical and contextualizing introduction by Jason Keith Fernandes, this rendition of Monsoon allows contemporary readers a rare peep into a colonial society that was significantly different from the British Indian mainstream.
 

Literal as well as metaphorical monsters inhabit this book of 38 innovative fictions. Here the reader will encounter not only zombies and ghosts, but a lyrical dream braided into a brutal and sorrowful real world. Monsters’ vision embodies the heartbreakingly private and depressingly public—and the funny flipside of it all.

The characters within these fifteen stories are in one way or another staring into the abyss. While some are awaiting redemption, others are fully complicit in their own undoing.
 
We come upon them in the mountains of West Virginia, in the backyards of rural North Carolina, and at tourist traps along Route 66, where they smolder with hidden desires and struggle to resist the temptations that plague them.
 
A Melungeon woman has killed her abusive husband and drives by the home of her son’s new foster family, hoping to lure the boy back. An elderly couple witnesses the end-times and is forced to hunt monsters if they hope to survive. A young girl “tanning and manning” with her mother and aunt resists being indoctrinated by their ideas about men. A preacher’s daughter follows in the footsteps of her backsliding mother as she seduces a man who looks a lot like the devil.
 
A master of Appalachian dialect and colloquial speech, Monks writes prose that is dark, taut, and muscular, but also beguiling and playful. Monsters in Appalachia is a powerful work of fiction.
 

Ruth Farley is a stubbornly independent, free-spirited woman who homesteaded a piece of land at Glory Springs, deep in a beautiful, remote canyon in the Southern California Mojave Desert. At the end of the 1930s she is still there, raising her two children and struggling to preserve her solitude. But the world is intruding. Her Indian friend Martha has been arrested for a murder she didn’t commit, and Ruth must join the Yuiatei tribe in trying to free her. In this final volume of Susan Lang’s Ruth Farley trilogy, Ruth discovers the limits of her autonomy and struggles to make peace with her painful past. As the story comes to a dramatic conclusion and the world descends into the madness of another war, Ruth finally understands that she is inextricably part of the human community and that her hard-won independence will not be sacrificed if she accepts and cherishes the bonds of love and friendship. Ruth Farley is one of the most memorable characters in recent fiction, a perplexing, sometimes exasperating, and utterly sympathetic modern woman torn between her desire for freedom and her need for love, her determination to live life on her own terms and the pressures that society places on a single woman. In this trilogy of novels, Susan Lang has achieved her place among our best contemporary fiction writers.

Winner of the Western Writers of America Spur Award for best historical novel, Moontrap is a book of remarkable beauty and power about a man caught between his vivid past and an uncertain future.

The year is 1850, a transitional period in the new Oregon Territory, with settlers and lawmakers working to subdue the untamed region. Johnson Monday, a former mountain man, has been living on a bend of the Willamette River near Oregon City for seven years with his Shoshone Indian wife, struggling to make a place in settled society. One day, Webster T. Webster, a raucous, unrepentant trapper, arrives for an unexpected visit. With his earthy humor and stubborn adherence to the simple life, "Webb" leads Monday through adventures that flirt dangerously close to lawlessness, while helping him to rediscover his moral center. Through defiance, triumph, and tragedy, Moontrap follows Johnson Monday as he realizes that relinquishing the stark honesty of mountain life for the compromises of civilization may be too high a price to pay.

Following Trask in Don Berry's trilogy of novels set in the Oregon Territory, Moontrap offers a richly comic and intensely poignant portrayal of pioneer life.

It’s the early 1970s and Dion Katthusen, thirteen, is growing up fatherless in a small village in northern Germany. An only child plagued with a devastating stutter, Dion is ostracized by his peers and finds solace in the company of nature, collecting dragonflies in a moor filled with myths and legends. On the precipice of adulthood, Dion begins to spill the secrets of his heart—his burning desire for faultless speech and his abiding relationship with his mother, a failed painter with secrets of her own. Even as Dion spins his story, his speech is filled with fissures and holes—much like the swampy earth that surrounds him. Nature, though so often sublime, can also be terribly cruel.

Moor is Dion’s story—a story of escaping the quicksand of loneliness and of the demands we make on love, even as those surrounding us are hurt in their misguided attempts to bear our suffering. Powerfully tuned to the relationship between human and nature, mother and son, Moor is a mysterious and experimental portrait of childhood. Written by up-and-coming German novelist Gunther Geltinger, the novel received critical acclaim in Germany and is now presented in English for the first time by translator Alexander Booth. Evocative and bold, Dion’s story emerges from the forces of nature, his voice rising from the ground beneath the reader’s feet, not soon to be forgotten.

Twelve-year-old Seth wants to prove to his stepfather, the game warden, that he is responsible enough to use his shotgun on his own. Without permission, he takes matters into his own hands and shoots his first rabbit. He is worried about what his father will say when he finds out—and Seth himself is unsure of how he feels about it—but before he can confess, Seth’s life is turned upside down.

In the woods near his house, he sees poachers slaughter a moose cow and injure her calf. Rather than tell his stepfather about the incident, Seth tries to save the calf, but the poachers know who he is and threaten his family. Can he rescue the moose and bring the poachers to justice? He has to try.

In this much anticipated companion volume to Stories from the Round Barn, Jackson assembles a collection of rich narratives and a cast of inspirational characters to joyously illustrate life. In the tradition of Willa Cather, Jackson writes of innocence, simplicity, and what happens when both are messily shattered by the intrusion of animals, children, war, epidemics, and progress itself. With wit and compassion Jackson recollects the hardships and satisfactions of farm life as lived according to her grandfather's motto: "Life as Well as a Living."

In 1861, the Civil War severs Michael Morkan from everything he loves and all that defines him--from his son, Leighton; from his love, Cora Slade; and from the quarry he owns in Springfield, Missouri. Forced to give his black powder to the Missouri State Guard, he finds himself indelibly labeled a rebel traitor and is imprisoned in St. Louis. Back in the Ozarks, Leighton joins the Federal Home Guards in hopes of paroling his father. When Leighton finally frees him, the two are pitched in a last gambit for their quarry and for the legacy of the name Morkan.

   The Depression era closing
        of a Ford plant sends Andy and two companions to Moscow to find work in
        a Soviet automotive plant, where he meets Natasha, an exemplar of the
        "new Soviet woman." Based on Myra Page's own experiences in Moscow during
        the first Five-Year Plan, Natasha is a portrait of women's contradictory
        social position in the early periods of socialist construction. At the
        core of this novel is a firsthand look at the developing forces and changing
        relations of production forces that bring about the conversion of Andy
        into a "Moscow Yankee." While revealing the political and economic policies
        that would inevitably lead to the demise of Soviet-style socialism, Moscow
        Yankee refutes the notion that egalitarian societies cannot succeed
        because they fail to take into account the individualism and greed of
        "human nature." Barbara Foley's introduction analyzes the Soviet Socialist
        construction in Page's novel and the politics of the novelistic form in
        relation to Moscow Yankee.
      Originally published in 1935
      "A picture of Americans lured
        to Moscow by hope in the 'great experiment,' and of others driven there
        by the depression, and of still others attracted by the simple desire
        to get good engineering jobs, Moscow Yankee; has a decided
        value . . . a sense of life, stirring in the chaos of destruction and
        reconstruction." -- The New York Times Book Review
 
 

In this classic of Russian humor and social commentary, a fired cable fitter goes on a binge and hopes a train to Petushki (where his "most beloved of trollops" awaits). On the way he bestows upon angels, fellow passengers, and the world at large a magnificent monologue on alcohol, politics, society, alcohol, philosophy, the pains of love, and, of course, alcohol.

The eleven stories and one novella of Mother Box, and Other Tales bring together everyday reality and something that is dramatically not in compelling narratives of new possibilities.

In language that is both barb and bauble, bitter and unbearably sweet, Sarah Blackman spins the threads of stories where everything is probable and nothing is constant. The stories in Mother Box, and Other Tales occur in an in-between world of outlandish possibility that has become irrefutable reality: a woman gives birth to seven babies and realizes at one of their weddings that they were foxes all along; a girl with irritating social quirks has been raised literally by cardboard boxes; a young woman throws a dinner party only to have her elaborate dessert upstaged by one of the guests who, as it turns out, is the moon. Love between mothers and children is a puzzling thrum that sounds at the very edge of hearing; a muted pulse that, nevertheless, beats and beats and beats.

In these tales, the prosaic details of everyday life—a half-eaten sandwich, an unopened pack of letters on a table—take on fevered significance as the characters blunder into revelations that occlude even as they unfold.

Masterfully wrought and keenly observed, Mountain Path draws on Harriette Simpson Arnow’s experiences as a schoolteacher in downtrodden Pulaski County, Kentucky, deep in the heart of Appalachia, prior to WWII. Far from a quaint portrait of rural life, Arnow’s novel documents hardships, poverty, illiteracy, and struggles. She also recognizes a fragile cultural richness, one characterized by “those who like open fires, hounds, children, human talk and song instead of TV and radio, the wisdom of the old who had seen all of life from birth to death,” and which has since been eroded by the advent of highways and industry. In Mountain Path, Arnow exquisitely captures the voices, faces, and ways of a people she cared for deeply, and who evoked in her a deep respect and admiration.

Mountains Piled upon Mountains features nearly fifty writers from across Appalachia sharing their place-based fiction, literary nonfiction, and poetry. Moving beyond the tradition of transcendental nature writing, much of the work collected here engages current issues facing the region and the planet (such as hydraulic fracturing, water contamination, mountaintop removal, and deforestation), and provides readers with insights on the human-nature relationship in an era of rapid environmental change.

This book includes a mix of new and recent creative work by established and emerging authors. The contributors write about experiences from northern Georgia to upstate New York, invite parallels between a watershed in West Virginia and one in North Carolina, and often emphasize connections between Appalachia and more distant locations. In the pages of Mountains Piled upon Mountains are celebration, mourning, confusion, loneliness, admiration, and other emotions and experiences rooted in place but transcending Appalachia’s boundaries.

At the First Baptist Church of Maeby, Arkansas, the sins of the child belonged to the parents until the child turned thirteen. Sarah Jones was only eight years old in the summer of 1964, but with her mother Esther Mae on eight prayer lists and flipping around town with the generally mistrusted civil rights organizers, Sarah believed it was time to get baptized and take responsibility for her own sins. That would mean sitting on the mourner’s bench come revival, waiting for her sign, and then testifying in front of the whole church.

But first, Sarah would need to navigate the growing tensions of small-town Arkansas in the 1960s. Both smarter and more serious than her years (a “fifty-year-old mind in an eight-year-old body,” according to Esther), Sarah was torn between the traditions, religion, and work ethic of her community and the progressive civil rights and feminist politics of her mother, who had recently returned from art school in Chicago. When organizers from the Student Non-Violent Coordinating Committee (SNCC) came to town just as the revival was beginning, Sarah couldn’t help but be caught up in the turmoil. Most folks just wanted to keep the peace, and Reverend Jefferson called the SNCC organizers “the evil among us.” But her mother, along with local civil rights activist Carrie Dilworth, the SNCC organizers, Daisy Bates, attorney John Walker, and indeed most of the country, seemed determined to push Maeby toward integration.

With characters as vibrant and evocative as their setting, Mourner’s Bench is the story of a young girl coming to terms with religion, racism, and feminism while also navigating the terrain of early adolescence and trying to settle into her place in her family and community.

The day is Friday, May 22, 2032. On this day, the day after his ninety-fourth birthday, a man is sitting in a beautiful garden. It is a paradise where he often played during his childhood, and it is here that he is recording the story of his adventures with Mr. Adamson. In the course of this compelling novel from Swiss author Urs Widmer, this man narrates his unusual story to his granddaughter, Anni. While he recounts his life, he is also waiting—waiting for the arrival of this very Mr. Adamson, whom he has not seen since the age of eight. Even then it was a mysterious encounter—a glimpse into realms that normally remain concealed to the living. For Mr. Adamson died at the very moment when our narrator was born, and he will soon return to escort the ninety-four-year-old narrator into another paradise.
Told with Urs Widmer’s signature humor, genius, and lively imagination, Mr Adamson is a superb story and a spellbinding book. With its vitality and zest for life, it manages to hold at bay that scandal we must all face in our lives: death.
 
Praise for Widmer
“One of the best representatives of Swiss literature.”—Le Monde

Any new book by poet, essayist, writer, and translator Hans Magnus Enzensberger, one of the most influential and internationally renowned German intellectuals, is cause for notice, and Mr. Zed’s Reflections is no exception. Every afternoon for almost a year, a plump man named Mr. Zed comes to the same spot in the city park and engages passersby with quick-witted repartee. Those who pass ask, who is this man? A wisecracker, a clown, a belligerent philosopher? Many shake their heads and move on; others listen to him, engage with him, and, again and again, end up at the same place. He doesn’t write anything down, but his listeners often take notes. With subversive energy and masterful brevity, Mr. Zed undermines arrogance, megalomania, and false authority. A determined speaker who doesn’t care for ambitions, he forces topics that others would rather keep to themselves. Reluctant to trust institutions and seeing absolutely nothing as “non-negotiable,” he admits mistakes and does away with judgment.  He is no mere ventriloquist dummy for his creator—he is too stubborn for that. And at the end of the season, when it becomes too cold and uncomfortable in the park, he disappears, never to be seen again.

Collected in this thought-provoking and unique work are the considerations and provocations of this squat, park-bench philosopher, giving us a volume of truths and conversations that are clear-cut, skeptical, and fiercely illuminating.

Mirroring Romania’s drastic transition from totalitarianism to Western-style freedom in the late 1980s, Mr. K Released captures the disturbingly surreal feeling that many newly liberated prisoners face when they leave captivity. Employing his trademark playful absurdity, Matéi Visniec introduces us to Mr. K, a Kafkaesque figure who has been imprisoned for years for an undisclosed crime in a penitentiary with mysterious tunnels.
 
One day, Mr. K finds himself unexpectedly released. Unable to comprehend his sudden liberation, he becomes traumatized by the realities of freedom—more so than the familiar trauma of captivity or imprisonment. In the hope of obtaining some clarification, Mr. K keeps waiting for an appointment with the prison governor, however, their meeting is constantly being delayed. During this endless process of waiting, Mr. K gets caught up in a clinical exploration of his physical surroundings. He does not have the courage or indeed inclination to leave, but can move unrestricted within the prison compound, charting endless series of absurd circles in which readers might paradoxically recognize themselves.
 

"There are writers—Tolstoy and Henry James to name two—whom we hold in awe, writers—Turgenev and Chekhov—for whom we feel a personal affection, other writers whom we respect—Conrad for example—but who hold us at a long arm's length with their 'courtly foreign grace.' Narayan (whom I don't hesitate to name in such a context) more than any of them wakes in me a spring of gratitude, for he has offered me a second home. Without him I could never have known what it is like to be Indian."—Graham Greene

Offering rare insight into the complexities of Indian middle-class society, R. K. Narayan traces life in the fictional town of Malgudi. The Dark Room is a searching look at a difficult marriage and a woman who eventually rebels against the demands of being a good and obedient wife. In Mr. Sampath, a newspaper man tries to keep his paper afloat in the face of social and economic changes sweeping India. Narayan writes of youth and young adulthood in the semiautobiographical Swami and Friends and The Bachelor of Arts. Although the ordinary tensions of maturing are heightened by the particular circumstances of pre-partition India, Narayan provides a universal vision of childhood, early love and grief.

"The experience of reading one of his novels is . . . comparable to one's first reaction to the great Russian novels: the fresh realization of the common humanity of all peoples, underlain by a simultaneous sense of strangeness—like one's own reflection seen in a green twilight."—Margaret Parton, New York Herald Tribune

"Narayan's limits are meticulously imposed and observed but his humor and compassion come from a deep universal well, with the result that he has transformed his imaginary township of Malgudi into a bubbling parish of the world."—Christopher Wordsworth, Observer

In the fictional East African Kwatee Republic of the 1990s, the dictatorship is about to fall, and the nation’s exiles are preparing to return. One of these exiles, a young man named Kalumba, is a graduate student in the United States, where he encounters Mrs. Shaw, a professor emerita and former British settler who fled Kwatee’s postcolonial political and social turmoil. Kalumba’s girlfriend, too, is an exile: a Puerto Rican nationalist like her imprisoned father, she is an outcast from the island. Brought together by a history of violence and betrayals, all three are seeking a way of regaining their humanity, connecting with each other, and learning to make a life in a new land. Kalumba and Mrs. Shaw, in particular, are linked by a past rooted in colonial and postcolonial violence, yet they are separated by their differing accounts of what really happened. The memory of each is subject to certain lapses, whether selective or genuine. Even when they agree on the facts—be they acts of love, of betrayal, or of violence—each narrator shapes the story in his or her own way, by what is left in and what is left out, by what is remembered and what is forgotten.

William Bradford Huie’s first novel, Mud on the Stars, is largely autobiographical and is set in the years 1929-1942. As in many of his later books, the theme here is of the education of the inexperienced youth, which is, after all, the quintessential American story. Drawing on his own boyhood, Huie gives the reader a detailed account of rural life and race relations in the Tennessee Valley in the early years of this century, including a vivid picture of college life at The University of Alabama during the Great Depression. Through a careful weaving of characters and events, fact and fiction, Huie’s novel captures the tumultuous times before World War II in the urban South, times of social unrest and testing of new political ideologies. The book’s publication in 1942 was a huge financial success, by the economic standards of the day, and not only brought Huie the acclaim his talent warranted but also focused an approving national spotlight on this prolific Alabama writer.

Taggart is annoyed at having to navigate the political structure of the bureaucracy, but he cannot bring himself to leave. He is able to teach, and he likes his proximity to Church archives, local bookstores, and the woman who, according to fate, is still seeing the policeman from The Angel Acronym. All the major characters are back, and Taggart’s romantic rival is given the new murder case, meaning that he has to rely once again on Taggart for his knowledge of the Church’s secrets. This gives both men a reason to keep an eye on the other, making for entertaining situations in a funny, insider send-up of the RLDS community.

Judge Dee—Confucian Imperial magistrate, inquisitor, and public avenger, based on a famous statesman—was Dutch diplomat and Chinese cultural historian Robert van Gulik’s (1910–67) lasting invention. A welcome addition to the elite canon of fictional detectives, the Judge steps in to investigate homicide, theft, and treason and restores order to the golden age of the Tang Dynasty. In Murder in Ancient China’s first story, we watch as Judge Dee attempts to solve the mystery of an elderly poet murdered by moonlight in his garden pavilion; in the second, set on the eve of the Chinese New Year, the Judge makes two rare mistakes—will peril result?

A delightfully complicated mystery that could only be unraveled by the beloved detective Judge Dee, whom the Los Angeles Times ranked with Sherlock Holmes

Murder in Canton takes place in the year 680, as Judge Dee, recently promoted to lord chief justice, is sent incognito to Canton to investigate the disappearance of a court censor. With the help of his trusted lieutenants Chiao Tai and Tao Gan, and that of a clever blind girl who collects crickets, Dee solves a complex puzzle of political intrigue and murder through the three separate subplots "the vanished censor," "the Smaragdine dancer," and "the Golden Bell."

The cave of Lascaux may be closed to the public, but five scholars a day are allowed inside, and Nora Barnes has finagled an appointment. True, she may have fudged a bit in her letter to the authorities, but she does teach art history, and she isn’t about to miss her chance to see the world’s most famous prehistoric paintings. Nora and her high-spirited husband, Toby, are visiting the Dordogne, in the southern French region of the Aquitaine. Aware that the Dordogne’s renown for cave art is matched only by its reputation for delicious cuisine, the couple has also signed up for a cooking class at a nearby château, but they soon find that more than food is on their minds.
    During their tour of the cave, another visitor is murdered. When the local inspector pegs Nora and Toby as suspects, they embark on a mission to solve the crime, tracing strange links between a Cro-Magnon symbol and a thirteenth-century religious cult. As they match wits with the crusty inspector, Nora finds herself immersed in the notebooks of a forgotten artist who once lived in the château. In sifting through the artist’s papers and uncovering old secrets, she begins to piece together the motives for the murder. But has she cooked up more trouble than she can handle?

Best Books for General Audiences, selected by the American Association of School Librarians

Best Books for General Audiences, selected by the Public Library Reviewers

Charlie Anderson, a reporter on leave from the Boston Globe, becomes entangled in an unusual mystery when he stumbles upon a news article about his own death. Confused and still very much alive, Charlie travels to Montauk, Long Island, to learn more about the deceased man and learns more about himself in the process.

The MICHIGAN Reading Plus Readers are original fiction written for students who wish to improve their reading skills. The MICHIGAN Reading Plus Readers support the need for extensive reading on topics of interest to today's students. The Readers offer students books in the genres of mystery, science-fiction, and romance. Activities that practice vocabulary and reading skills are provided on the companion website.

Originally published in 1986, this new edition returns to print a classic, influential work of American fiction

The author of the acclaimed novel Reflex and Bone Structure returns here in My Amputations to the question of identity, the double, adventure, detection, and mystery, but with more hypnotic power and range. In My Amputations he has his protagonist, Mason Ellis (who may just be “a desperate ex-con” or a wronged American novelist out to right the wrong done to him), jump through flaming loops like a trained dog, so to speak. In other words, there seems to be no end to the troubles Mason Ellis faces.
 
His story takes him from the South Side of Chicago, to New York, with a stint in Attica prison, across America and Europe and into the primal depths of Africa. Mason, all the while, tries to convince the reader that he is the important American writer he says he is. Upon his release from prison he sets out to prove his claim. After an audacious bank-robbery and a couple of burglaries that are hilarious, he goes into hiding to escape the malice of one of his cohorts, and eventually flees to Europe. The irony is that he is now as much the runner as the seeker. After encounters with a Zuni ex-folksinger, kidnappers, the New York underworld, literary groupies, an Italian swordsman, a violent German secret society, and an anti-bellum cotillion in rural Greece, he finds himself face to face (behind a mask) with his own destiny.

In the thirteen stories of My Body to You, thirteen women or girls pilot their own bodies through a shifting universe of lovers old and young, parents devoted and destructive, sisters of different sexes, children and adults living in the mysterious world of autism. All these characters share keen powers of observations and a heightened sensuality. In a wild variety of settings, they struggle to control—or dare to abandon themselves to—their intensely private passions.

A woman in love with a gay man she calls Sister Kin attempts to escape the bonds of her own body. An eighteen-year-old virgin enters into a passionate affair with an older man who turns out to be a virgin of a different sort. A special education teacher in a school for aggressive teenagers finds herself attracted to another teacher, also female. An intelligent outcast girl bonds with her mindlessly seductive mother to form “one person.”

Searle reveals other characters through inventive and often comic feats of narrative daring. A girl grows into womanhood during a single family dinner that spans twenty years. A middle-aged wife, once dubbed “The First Most Beautiful Woman in the World,” watches her former selves parade before her family in a lively evening of home movies. Two women—one recently divorced, the other a group home resident in love with The Who—join forces as they figure out “What to Do in an Emergency.” An old woman experiences both physical breakdown and spiritual breakdown in a supermarket's vegetable department. A young woman is drawn into the emotional and sexual life of an autistic boy obsessed with the number 8.

Each of these stories is written in a language that strives to match the intensity of Searle's characters; each gives the reader an exceptionally intimate portrait of a unique female and the central, sensual mystery of her body.

My Daughter's Eyes and Other Stories, winner of the 2007 Mármol Prize, is a collection of fourteen interrelated stories about young Dominican women living in the Bronx as they deal with the choices they make in their everyday life. These stories span three decades, beginning in the 1970s, and their topics range from mother-daughter struggles, father-daughter betrayal, family, and child abuse, to emerging sexuality, love, loss, and healing. Annecy Baez's daring treatment of taboo themes, such as sexual child abuse and the struggle of the individual against restrictive traditional values, makes this book unique in Dominican fiction.

The fourth novel in James T. Farrell’s pentalogy chronicles Danny O’Neill’s coming of age. Recording his reactions to initiation into college life at the University of Chicago and the imminent death of his grandmother, one of his primary caretakers, Danny realizes the value of time and gains confidence in his writing abilities. As he works on his first novel, he prepares to leave his family, his Catholicism, and his neighborhood in Chicago behind for a new life as a writer in New York.