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The Catcher in the Rye
Since his debut in 1951 as The Catcher in the Rye, Holden Caulfield has been synonymous with "cynical adolescent " Holden narrates the story of a couple of days in his sixteen-year-old life, just after he's been expelled from prep school, in a slang that sounds edgy even today and keeps this novel on banned book lists. It begins, "If you really want to hear about it, the first thing you'll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them." His constant wry observations about what he encounters, from teachers to phonies (the two of course are not mutually exclusive) capture the essence of the eternal teenage experience of alienation..
Price: $2.65
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The Sister
“This lyrical and haunting story of two sisters, their troubling past, and the terrible secrets they each want buried will stay with you long after you close the book.”
—Harlan Coben
“The Sister is a taut, tense tale of the ties that bind—sometimes a little too tightly ”
—Karin Slaughter
From her lookout in the crumbling mansion that was her childhood home, Ginny watches and waits for her younger sister to arrive. Vivien has not set foot in the house since she left nearly fifty years ago; the reclusive Ginny has rarely ventured out, retreating into the precise routines that define her days, carrying on her father’s solitary work studying moths.
As the sisters revisit their shared past, they realize that their recollections differ in essential and unsettling ways. Before long, the deeply buried resentments that have shaped both their lives rise to the surface, and Vivien’s presence threatens to disrupt Ginny’s carefully ordered world.
Told in Ginny’s unforgettable voice, this subtle and chilling debut novel tells an extraordinary story of how families are capable of undoing themselves—especially in the name of love. .
Price: $11.95
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Ulysses
Ulysses has been labeled dirty, blasphemous, and unreadable In a famous 1933 court decision, Judge John M. Woolsey declared it an emetic book--although he found it sufficiently unobscene to allow its importation into the United States--and Virginia Woolf was moved to decry James Joyce's "cloacal obsession." None of these adjectives, however, do the slightest justice to the novel. To this day it remains the modernist masterpiece, in which the author takes both Celtic lyricism and vulgarity to splendid extremes. It is funny, sorrowful, and even (in a close-focus sort of way) suspenseful. And despite the exegetical industry that has sprung up in the last 75 years, Ulysses is also a compulsively readable book. Even the verbal vaudeville of the final chapters can be navigated with relative ease, as long as you're willing to be buffeted, tickled, challenged, and (occasionally) vexed by Joyce's sheer command of the English language. Among other things, a novel is simply a long story, and the first question about any story is: What happens?. In the case of Ulysses, the answer might be Everything. William Blake, one of literature's sublime myopics, saw the universe in a grain of sand. Joyce saw it in Dublin, Ireland, on June 16, 1904, a day distinguished by its utter normality. Two characters, Stephen Dedalus and Leopold Bloom, go about their separate business, crossing paths with a gallery of indelible Dubliners. We watch them teach, eat, stroll the streets, argue, and (in Bloom's case) masturbate. And thanks to the book's stream-of-consciousness technique--which suggests no mere stream but an impossibly deep, swift-running river--we're privy to their thoughts, emotions, and memories. The result? Almost every variety of human experience is crammed into the accordian folds of a single day, which makes Ulysses not just an experimental work but the very last word in realism. Both characters add their glorious intonations to the music of Joyce's prose. Dedalus's accent--that of a freelance aesthetician, who dabbles here and there in what we might call Early Yeats Lite--will be familiar to readers of Portrait of an Artist As a Young Man. But Bloom's wistful sensualism (and naive curiosity) is something else entirely. Seen through his eyes, a rundown corner of a Dublin graveyard is a figure for hope and hopelessness, mortality and dogged survival: "Mr Bloom walked unheeded along his grove by saddened angels, crosses, broken pillars, family vaults, stone hopes praying with upcast eyes, old Ireland's hearts and hands. More sensible to spend the money on some charity for the living. Pray for the repose of the soul of. Does anybody really?" --James Marcus.
Price: $8.50
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Adult Children of Parental Alienation Syndrome: Breaking the Ties that Bind (Norton Professional Book)
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Divorce Casualties: Protecting Your Children From Parental Alienation
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Dirt Music : A Novel
Arguably one of the finest of all Australian novelists, Tim Winton shows that he remains in top form with Dirt Music, a wistful, charged, ardent novel of female loss and amatory redemption. The setting is Winton's favorite: the thorn-bushed, sheep-farmed, sun-punished boondocks of Western Australia. The cast is limited but spirited: the two chief protagonists are Georgie Jutland, a fortysomething adoptive mother with a vodka problem, and Luther Fox, a brooding, feral, bushwhacking poacher. The plot is something else altogether: an elegantly wearied, cleverly finessed mutual odyssey that opts to follow the sometimes intertwining, sometimes diverging lives of poor Georgie and Luther as they try to deal with the odd alliance they comprise, as well as the complex and fractured lives they want to leave behind. The way Georgie deals with her unwitting inheritance of two dissatisfied adopted kids is particularly touching, poignant, and well written. Best of all, though, is the prose. Somehow it manages to be simultaneously juicy and dry, like a desert cactus. This is especially true when Winton touches on the scented harshness of the Down Under outback: "the music is jagged and pushy and he for one just doesn't want to bloody hear it, but the outbursts of strings and piano are as austere and unconsoling as the pindan plain out there with its spindly acacia and red soil." This is a wise and accomplished novel. --Sean Thomas, Amazon.co.uk.
Price: $3.00
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Naked Lunch
"He was," as Salon's Gary Kamyia notes, "20th-century drug culture's Poe, its Artaud, its Baudelaire He was the prophet of the literature of pure experience, a phenomenologist of dread.... Burroughs had the scary genius to turn the junk wasteland into a parallel universe, one as thoroughly and obsessively rendered as Blake's." Why has this homosexual ex-junkie, whose claim to fame rests entirely on one book--the hallucinogenic ravings of a heroin addict--so seized the collective imagination? Burroughs wrote Naked Lunch in a Tangier, Morocco, hotel room between 1954 and 1957. Allen Ginsberg and his beatnik cronies burst onto the scene, rescued the manuscript from the food-encrusted floor, and introduced some order to the pages. It was published in Paris in 1959 by the notorious Olympia Press and in the U.S. in 1962; the landmark obscenity trial that ensued served to end literary censorship in America. Burroughs's literary experiment--the much-touted "cut-up" technique--mirrored the workings of a junkie's brain. But it was junk coupled with vision: Burroughs makes teeming amalgam of allegory, sci-fi, and non-linear narration, all wrapped in a blend of humor--slapstick, Swiftian, slang-infested humor. What is Naked Lunch about? People turn into blobs amidst the sort of evil that R. Crumb, in the decades to come, would inimitably flesh out with his dark and creepy cartoon images. Perhaps the most easily grasped part of Naked Lunch is its America-bashing, replete with slang and vitriol. Read it and see for yourself..
Price: $4.55
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Politics of Experience
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