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Tammas is 20, a loner and a compulsive gambler. Unable to hold a job for long, his life revolves around Glasgow bars, living with his sister and brother-in-law, betting shops, and casinos. Sometimes Tammas wins, more often he loses. But gambling gives him as good a chance as any of discovering what he seeks from life since society offers no prospect of a more fulfilling alternative.

Four people, each in search of some real value in life, drive from Mexico City to Veracruz for Semana Santa — Holy Week.

Publishers Weekly:

Just as the the word "weird'' has many implications and shades of meaning, so too does the latest–weird–work by this gifted and perplexing writer. As Carroll ( Bones of the Moon ; Sleeping in Flame ) himself says, "Life has a habit of turning dark corners.'' Applied here, this observation seems an understatement: these convoluted corners are both light and dark, are many, varied and constantly challenging. Flashing back and forth in time, the story concerns the apparent suicide of filmmaker Philip Strayhorn, whose bizarre Midnight series has attained cult status. Strayhorn's best friend, Weber Gregston, a filmmaker with a more intellectual bent, is drawn into a dizzying series of events by a videotape that Philip leaves him. The wickedly imaginative twists and turns that follow are only one facet of this intriguing tale, which seems at times like a framework on which to hang a myriad of metaphysical notions. What, for instance, is one to make of a tattoo of a crow that comes alive in an airplane lavatory? Carroll's style is elegant; his writing is by turns disturbing, fey, sardonic, grim–frequently within a single paragraph. The unexpected lies at the heart of this novel, and readers seeking a provocative and stimulating–though not always easy–read will be rewarded. (Aug.)

First published in 1956, this much sought-after autobiographical recollection of Truman Capote’s rural Alabama boyhood has become a modern-day classic. We are proud to be reprinting this warm and delicately illustrated edition of —“a tiny gem of a holiday story” (, starred review).

Seven-year-old Buddy inaugurates the Christmas season by crying out to his cousin, Miss Sook Falk: “It’s fruitcake weather!” Thus begins an unforgettable portrait of an odd but enduring friendship between two innocent souls—one young and one old—and the memories they share of beloved holiday rituals.

Fifteen-year-old Alex and his three friends start an evening’s mayhem by hitting an old man, tearing up his books and stripping him of money and clothes.

Or rather Alex and his three droogs tolchock an old veck, razrez his books, pull off his outer platties and take a malenky bit of cutter.

For Alex’s confessions are written in ‘nadsat’—the teenage argot of a not-too-distant future.

Because of his delinquent excesses, Alex is jailed and made subject to “Ludovico’s Technique,” a chilling experiment in Reclamation Treatment…

Horror farce? Social prophecy? Penetrating study of human choice between good and evil? A “Clockwork Orange” is all three, dazzling proof of Anthony Burgess’s vast talents.

In Anthony Burgess’s A Clockwork Orange, Burgess creates a gloomy future full of violence, rape and destruction. In this dystopian novel, Burgess does a fantastic job of constantly changing the readers’ allegiance toward the books narrator and main character, Alex. Writing in a foreign language, Burgess makes the reader feel like an outsider. As the novel begins, the reader has no emotional connection to Alex. This non-emotional state comes to a sudden halt when Alex and his droogs begin a series of merciless acts of violence. The reader rapidly begins to form what seems to be an irreversible hatred toward the books narrator. However, as time progresses, Burgess cleverly changes the tone of his novel. Once wishing only the harshest punishments be bestowed upon him, it is these same punishments that begin to change how the reader feels. In fact, by the end of the book, one almost begins to have pity for Alex. The same character that was once hated soon emerges as one of many victims taken throughout the course of the book. Throughout Alex’s narration, Burgess manages to change the readers’ allegiance toward a once seemingly evil character.

Alex is the type of character one loves to hate; he makes it all too easy to dislike him. He is a brutal, violent, teenage criminal with no place in society. His one and only role is to create chaos, which he does too well. Alex’s violent nature is first witnessed during the first chapter, and is soon seen again when Alex and his gang chose to brutally beat an innocent drunkard. This beating off the homeless man serves no purpose other then to amuse Alex’s gang. The acts committed were not performed for revenge, the one reason given was that Alex did not enjoy seeing a homeless drunk, “I could never stand to see a moodge all filthy and rolling and burping and drunk, whatever his age might be, but more especially when he was real starry like this one was”. Alex continues to explain his reason for dislike, “his platties were a disgrace, all creased and untidy and covered in cal”, from this explanation one realizes his reasons for nearly killing a man are simply based on pleasure, desire, and a dislike toward the untidy. By the end of the second chapter Burgess’s inventive usage of a different language to keep the reader alienated from forming opinions about Alex ceases to work. At this point in time Alex’s true nature is revealed, and not even his unfamiliar Nadsat language can save him from being strongly disliked by the reader.

The more the reader learns of Alex, the more and more he is disliked; Alex’s relationship with his parents only builds on ones already negative opinions toward Alex. Coming from a normal family and a sturdy household free of domestic violence, there is no excuse for Alex’s violent nature. In fact, Alex’s loving parents are just as baffled by his immoral personality as the reader, although because of their naivete, they know much less of what he does. This leaves the reader uninformed and wondering: why is Alex the way he is? Fortunately, just as one begins to question Alex’s motives, Alex gives an answer, “badness is of the self, the one…is not our modern history, my brothers the story of brave malenky selves fighting these big machines? I am serious with you, brothers, over this. But what I do I do because I like to do”. He could not have explained it more clearly. While from one point of view Alex visions himself as a revolutionary, even simpler then that, he is basically admitting he commits violent acts because he enjoys doing so. Later in the book Alex offers another solution for his violent nature, “Being young is like being one of these malenky machines…and so it would itty on to like the end of the world”. These malenky machines he is referring to are very similar to the clockwork orange Burgess talks to in his introduction. Whatever reasons he gives, none of them are valid enough to prevent the reader from hating Alex.

In spite of all the hatred aimed toward Alex at this point, seemingly it is not enough to prevent the pity one begins to feel when Alex is abandoned by his “droogs”. Knowing he is the leader of his group, Alex constantly gives orders to his gang. Unfortunately it is due to his tendency to need leadership that a quarrel begins with his gang. After settling the original dispute that arises, Alex and his “droogs” are not so successful at ending their second squabble. Framed by his friends, Alex is arrested while they run away. Furthermore, he is beaten by the police, and sentenced to fourteen years of jail. It only takes two of them for the reader to realize the difficulties that Alex is living through. Throughout the first part of the book, there is in fact only one sign that Alex is not utterly evil, that being his music. Along with his abandonment from friends, it is the music that Burgess uses to help change the readers opinion, and eventually to have pity toward his young antagonist.

As the reader continues to pry deeper into Alex’s life it is shocking to learn of the music he listens to, it is because of this music and the actions taken against him that one truly begins to feel sorry for Burgess’s little Alex. The music that Alex chooses to listen is very ironic. While it causes him to do evil things, the fact remains that he listens to normal music, one of the first things he is not disliked for, “lying there on my bed with glazzies tight shut and rookers behind my gulliver, I broke and spattered and cried aaaaaaah with the bliss of it". His particular interest in Ludwig Van arises during one of his sessions while undergoing Ludivico’s Technique. Upon hearing what he perceives to be heavenly music Alex cry’s out about the injustice in the procedure, “I don’t mind about the ultra-violence and all that cal. I can put up with that. But it’s not fair on the music”. It is during this same treatment that the reader really begins to feel sympathy toward him. Striped of his ability to choose right from wrong, and now the same clockwork orange that F. Alexander earlier told him about, Alex becomes one of the governments’ machines. Forced to do exactly what they want him to, become their “true Christian”, Alex poses the question to his doctors, “How about me? Where do I come into all this? Am I like just some animal or dog…am I to be just like a clockwork orange?” Alex is all alone in the world, no longer capable of performing cruel deeds, he is denied by all whom he once knew. The same character one used to wish the harshest punishment upon received it, and when he got it, it becomes strikingly evident that it was much more then even the worst person would ever deserve.

Burgess does a magical job at making the reader quickly forget the horrible deeds Alex once committed. Instead by making powerful moral statements, Burgess goes so far that the reader not only turns the other cheek toward Alex’s crimes, but also feels genuinely sorry for him. Alex may not be completely cured, but that is not the issue at hand. Through means of pity and by playing with the readers’ emotions throughout the book, during A Clockwork Orange, Burgess is constantly playing with the reader’s allegiances.

A beautifully modulated novel that shows Edward St. Aubyn at his sparkling best.

Charlie Fairburn, successful screenwriter, ex-husband, and absent father, has been given six months to live. He resolves to stake half his fortune on a couple of turns of the roulette wheel and, to his agent's disgust, to write a novel-about death. In the casino he meets his muse. Charlie grows as addicted to writing fiction as she is to gambling.

His novel is set on a train and involves a group of characters (familiar to readers of St. Aubyn's earlier work) who are locked in a debate about the nature of consciousness. As this train gets stuck at Didcot, and Charlie gets more passionately entangled with the dangerous Angelique, comes to its startling climax. Exquisitely crafted, witty, and thoughtful, Edward St. Aubyn's dazzling novel probes the very heart of being.

The saga that has enthralled the millions of readers of and now continues with Ken Follett’s magnificent, gripping .

Christmas 1558, and young Ned Willard returns home to Kingsbridge to find his world has changed.

The ancient stones of Kingsbridge Cathedral look down on a city torn by religious hatred. Europe is in turmoil as high principles clash bloodily with friendship, loyalty and love, and Ned soon finds himself on the opposite side from the girl he longs to marry, Margery Fitzgerald.

Then Elizabeth Tudor becomes queen and all of Europe turns against England. The shrewd, determined young monarch sets up the country’s first secret service to give her early warning of assassination plots, rebellions and invasion plans.

Elizabeth knows that alluring, headstrong Mary Queen of Scots lies in wait in Paris. Part of a brutally ambitious French family, Mary has been proclaimed the rightful ruler of England, with her own supporters scheming to get rid of the new queen.

Over a turbulent half-century, the love between Ned and Margery seems doomed, as extremism sparks violence from Edinburgh to Geneva. With Elizabeth clinging precariously to her throne and her principles, protected by a small, dedicated group of resourceful spies and courageous secret agents, it becomes clear that the real enemies — then as now — are not the rival religions.

The true battle pitches those who believe in tolerance and compromise against the tyrants who would impose their ideas on everyone else — no matter the cost.

Weekly ballet classes are Harriet Morton's only escape from her intolerably dull life. So when she is chosen to join a corps de ballet which is setting off on a tour of the Amazon, she leaps at the chance to run away for good.

Performing in the grand opera houses is everything Harriet dreamed of, and falling in love with an aristocratic exile makes her new life complete. Swept away by it all, she is unaware that her father and intended fiancé have begun to track her down…

A Company of Swans

Sixteen-year-old Nomi Nickel longs to hang out with Lou Reed and Marianne Faithfull in New York City’s East Village. Instead she’s trapped in East Village, Manitoba, a small town whose population is Mennonite: “the most embarrassing sub-sect of people to belong to if you’re a teenager.” East Village is a town with no train and no bar whose job prospects consist of slaughtering chickens at the Happy Family Farms abattoir or churning butter for tourists at the pioneer village. Ministered with an iron fist by Nomi’s uncle Hans, a.k.a. The Mouth of Darkness, East Village is a town that’s tall on rules and short on fun: no dancing, drinking, rock ’n’ roll, recreational sex, swimming, make-up, jewellery, playing pool, going to cities or staying up past nine o’clock.

As the novel begins, Nomi struggles to cope with the back-to-back departures three years earlier of Tash, her beautiful and mouthy sister, and Trudie, her warm and spirited mother. She lives with her father, Ray, a sweet yet hapless schoolteacher whose love is unconditional but whose parenting skills amount to benign neglect. Father and daughter deal with their losses in very different ways. Ray, a committed elder of the church, seeks to create an artificial sense of order by reorganizing the city dump late at night. Nomi, on the other hand, favours chaos as she tries to blunt her pain through “drugs and imagination.” Together they live in a limbo of unanswered questions.

Nomi’s first person narrative shifts effortlessly between the present and the past. Within the present, Nomi goes through the motions of finishing high school while flagrantly rebelling against Mennonite tradition. She hangs out on Suicide Hill, hooks up with a boy named Travis, goes on the Pill, wanders around town, skips class and cranks Led Zeppelin. But the past is never far from her mind as she remembers happy times with her mother and sister — as well as the painful events that led them to flee town. Throughout, in a voice both defiant and vulnerable, she offers hilarious and heartbreaking reflections on life, death, family, faith and love.

Eventually Nomi’s grief — and a growing sense of hypocrisy — cause her to spiral ever downward to a climax that seems at once startling and inevitable. But even when one more loss is heaped on her piles of losses, Nomi maintains hope and finds the imagination and willingness to envision what lies beyond.

Few novels in recent years have generated as much excitement as . Winner of the Governor General’s Award and a Giller Prize Finalist, Miriam Toews’s third novel has earned both critical acclaim and a long and steady position on our national bestseller lists. In the , author Bill Richardson writes the following: “There is so much that’s accomplished and fine. The momentum of the narrative, the quality of the storytelling, the startling images, the brilliant rendering of a time and place, the observant, cataloguing eye of the writer, her great grace. But if I had to name Miriam Toews’s crowning achievement, it would be the creation of Nomi Nickel, who deserves to take her place beside Daisy Goodwill Flett, Pi Patel and Hagar Shipley as a brilliantly realized character for whom the reader comes to care, okay, comes to love.”

When a young Chinese woman, newly arrived in London, moves in with her English boyfriend, she decides it's time to write a Chinese-English dictionary for lovers. Xiaolu's first novel in English is an utterly original journey of self-discovery.

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“By turns hilarious and poignant. Xiaolu Guo has given us a fresh and bittersweet addition to the literature of cultural displacement.” – The Oregonian

“Funny and charming…more than a love story; its psychology is politically acute, and things noted lightly in it linger in the mind.” – The Guardian (London)

“Xiaolu Guo has written an inventive, often humorous and poignant story of a woman’s journey over cultural and emotional borders.” – Gail Tsukiyama, Ms. Magazine

“Xiaolu Guo’s novel, her first in English, is smartly absorbing. Grade: A” – Entertainment Weekly

“A Concise Chinese-English Dictionary for Lovers cleverly courts our assumptions about the chasm between Chinese and Western cultures, only to upend them. It is an utterly captivating, and disorientating, journey both through language and through love.” – The Independent (London)

“As absorbing as a peek into a diary.” – The San Diego Union-Tribune

“It is impossible not to be charmed by Xiaolu Guo’s matter-of-factness… It is equally hard not to be impressed by Guo’s vivacious talent.” – The Sunday Times (London)

“A Concise Chinese-English Dictionary for Lovers is original, humorous, and wise. Within imperfect language one can find many perfect truths of the human condition. The misunderstandings are really the understandings of the differences of the heart between men and women.” – Amy Tan, author of The Joy Luck Club

“Xiaolu Guo is a fabulous writer, fresh, witty, and intelligent. She handles language in an astonishing way. I don’t think I have enjoyed a book as much in the last twelve months.” – Joanne Harris, author of Chocolat

A monument to sloth, rant and contempt, and suspicious of anything modern - this is Ignatius J. Reilly of New Orleans, crusader against dunces. In revolt against the 20th century, Ignatius propels his bulk among the flesh-pots of a fallen city, documenting life on his Big Chief tablets as he goes, until his mother decrees that Ignatius must work.

A story of the transcendent power of love in wartime, is a work of sweeping breadth, profound compassion, and lasting significance.

Two doctors risk everything to save the life of a hunted child in this majestic debut about love, loss, and the unexpected ties that bind us together. “On the morning after the Feds burned down her house and took her father, Havaa woke from dreams of sea anemones.” Havaa, eight years old, hides in the woods and watches the blaze until her neighbor, Akhmed, discovers her sitting in the snow. Akhmed knows getting involved means risking his life, and there is no safe place to hide a child in a village where informers will do anything for a loaf of bread, but for reasons of his own, he sneaks her through the forest to the one place he thinks she might be safe: an abandoned hospital where the sole remaining doctor, Sonja Rabina, treats the wounded.

Though Sonja protests that her hospital is not an orphanage, Akhmed convinces her to keep Havaa for a trial, and over the course of five extraordinary days, Sonja’s world will shift on its axis and reveal the intricate pattern of connections that weaves together the pasts of these three unlikely companions and unexpectedly decides their fate.

Part autobiography, part fiction, this early work by the author ofThe Master and Margaritashows a master at the dawn of his craft, and a nation divided by centuries of unequal progress. In 1916 a 25-year-old, newly qualified doctor named Mikhail Bulgakov was posted to the remote Russian countryside. He brought to his position a diploma and a complete lack of field experience. And the challenges he faced didn't end there: he was assigned to cover a vast and sprawling territory that was as yet unvisited by modern conveniences such as the motor car, the telephone, and electric lights. The stories in A Country Doctor's Notebook are based on this two-year window in the life of the great modernist. Bulgakov candidly speaks of his own feelings of inadequacy, and warmly and wittily conjures episodes such as peasants applying medicine to their outer clothing rather than their skin, and finding himself charged with delivering a baby--having only read about...

From the best-selling author of , a stunning new novel that follows an unnamed writer-Samuel Beckett-whose life and extraordinary literary gift are permanently shaped in the forge of war.

When war breaks out in Europe in 1939, a young, unknown writer journeys from his home in neutral Ireland to conflict-ridden Paris and is drawn into the maelstrom. With him we experience the hardships yet stubborn vibrancy at the heart of Europe during the Nazis' rise to power; his friendships with James Joyce and other luminaries; his quietly passionate devotion to the Frenchwoman who will become his lifelong companion; his secret work for the French Resistance and narrow escapes from the Gestapo; his flight from occupied Paris to the countryside; and the rubble of his life after liberation. And through it all we are witness to workings of a uniquely brilliant mind struggling to create a language that will express his experience of this shattered world. Here is a remarkable story of survival and determination, and a portrait of the extremes of human experience alchemized into timeless art.

Far away, in the ancient empire of Greater Fallowfields, things are falling apart. The imperial orchestra is presided over by a conductor who has never played a note, the clocks are changed constantly to ensure that the sun always sets at five o' clock, and the Astronomer Royal is only able to use the observatory telescope when he can find a sixpence to put in its slot. But while the kingdom drifts, awaiting the return of the young emperor, who has gone abroad and communicates only by penny post, a sinister and unfamiliar enemy is getting closer and closer…A Cruel Bird Came to the Nest and Looked In is Magnus Mills's most ambitious work to date. A surreal portrait of a world that, although strange and distant, contains rather too many similarities to our own for the alien not to become brilliantly familiar and disturbingly close to home. It is comic writing at its best — and it is Magnus Mills's most ambitious, enjoyable and rewarding novel to date.

'Yes, bastard, you're the one I love' A pair of lovers — a young female journalist and an older man who owns an isolated farm in the Brazilian outback — spend the night together. The next day they proceed to destroy each other. Amid vitriolic insults, cruelty and warring egos, their sexual adventure turns into a savage power game. This intense, erotic cult novel by one of Brazil's most infamous modernist writers explores alienation, the desire to dominate and the wish to be dominated. A new translation by Stefan Tobler.

From the author of —one of our most audacious and original writers — a beguiling new novel about a man starting over at the most basic level, and the strange woman who insinuates herself into his life and memory.

A man and a woman have moved into a small house in a small village. The woman is an "examiner," the man, her "claimant." The examiner is both doctor and guide, charged with teaching the claimant a series of simple functions: this is a chair, this is a fork, this is how you meet people. She makes notes in her journal about his progress: he is showing improvement, yet his dreams are troubling. One day, the examiner brings him to a party, and here he meets Hilda, a charismatic but volatile woman whose surprising assertions throw everything the claimant has learned into question. What is this village? Why is he here? And who is Hilda? A fascinating novel of love, illness, despair, and betrayal, is the most captivating novel yet from one of our most exciting young writers.

Reading Dostoevsky in Afghanistan becomes “crime without punishment”

Rassoul remembers reading as a student of Russian literature in Leningrad, so when, with axe in hand, he kills the wealthy old lady who prostitutes his beloved Sophia, he thinks twice before taking her money or killing the woman whose voice he hears from another room. He wishes only to expiate his crime and be rightfully punished. Out of principle, he gives himself up to the police. But his country, after years of civil war, has fallen into chaos. In Kabul there is only violence, absurdity, and deafness, and Rassoul’s desperate attempt to be heard turns into a farce.

This is a novel that not only flirts with literature but also ponders the roles of sin, guilt, and redemption in the Muslim world. At once a nostalgic ode to the magic of Persian tales and a satire on the dire reality of now, also portrays the resilience and wit of Afghani women, an aspect of his culture that Rahimi never forgets.