Written with the same acerbic wit and infectious humor that has made P. J. O'Rourke one of the most popular political satirists of all time, The Enemies List will keep you howling and his enemies scowling. From Noam Chomsky to Yoko Ono, from Peter, Paul, and Mary (yes, they're still alive) to all the people who think quartz crystals cure herpes, from Ralph Nader to the entire country of Sweden, P. J. O'Rourke has created a roster of the most useless, politically disgraceful, and downright foolish people around. Although a rating system of S=Silly, VS=Very Silly, SML=Shirley MacLaine was ultimately cast aside, the distinguishing feature of the cluster of dunces presented here is silliness, not political subversion. The Enemies List began as an article in the American Spectator and, as readers contributed their own suggestions, quickly grew into a hilarious and slashing commentary on politicians and celebrities alike. Now they have been named, we just need to figure out what to do... Views: 34
Based on a chilling true crime, The Monster of Florence follows the reopening of a cold case—a serial killer who targeted unmarried couples and terrorized Florence for two decades. Marshal Guarnaccia's job with the carabinieri—the local Florentine police—usually involves restoring stolen handbags to grateful old ladies and lost cameras to bewildered tourists. So when he is assigned to work with the police in trying to track down a vicious serial killer, he feels out of his league. To make matters worse, the Proc he must report to is Simonetti, the same man he knows drove an innocent man to suicide several years earlier in his blind quest for a conviction. The Marshal can't let the stress of the case get to him if he wants to make sure justice is upheld.From BooklistNabb’s death, in 2007, left a serious hole in the roster of A-list mystery writers, and the publication of a posthumous novel starring her series hero, Marshal Guarnaccia, of the Florence Carabinieri, is a welcome event for all fans of international crime fiction. The novel, originally published in the UK in 1999, has curiously never appeared in the U.S. It’s an odd book in some ways, based on a real-life serial killer, the Monster of Florence, whose reign of terror lasted more than 20 years and who may or may not have been apprehended. Guarnaccia, assigned to a cold-case squad tasked with reopening the still-unsolved murders, spends much of the book reading files (and the marshal is not a reader by nature) and mulling over not only whether the suspect being investigated is in fact the killer but also why he was chosen for the task force. The reliance on so many secondary sources, though no doubt fascinating to those who know the real-life case, tends to slow the narrative flow, but, fortunately, there is more than enough of Guarnaccia’s Columbo-like mix of bumbling and shrewdness to please fans. --Bill Ott ReviewPraise for The Monster of Florence "One of Nabb's darkest novels, almost shocking in its disenchanted acknowledgment of human brutality." —The New York Times Book Review "The late Magdalen Nabb never wrote a bad book.... She’s well worth discovering by a new generation of readers... [Monster of Florence] is one of the best of her works and readers can revel in the streets, sounds, smells of Florence." —The Globe and Mail “It is so good to walk with [Magdalen Nabb] through the animated streets of Florence, with its carabinieri, its ordinary people, its little trattorie and even its noisy tourists. It's all so alive, you can hear the noises, smell the smells, see that morning mist on the fast flowing Arno…. Bravissimo!”—Georges Simenon "Monster is powerful in its indirection and its presentation in a fictional context of the facts of a real and celebrated case.... It's both a very effective crime novel and something more than a crime novel." —Glenn Harper, International Noir Fiction "A haunting thriller where past and present collide, where ambition brutalizes those who have most need of compassion and where lies are often more credible than truth."—Val McDermid "Nabb's account of the details is freshly horrifying.... The vicious, incestuous suspect is so vivid on the page that the reader feels the need of a shower after each of his many appearances."—Donna Leon for the *Sunday Times* “Fans who mourned [Nabb’s] death in 2007 will want this mystery.”—Library Journal "Nabb’s death, in 2007, left a serious hole in the roster of A-list mystery writers, and the publication of a posthumous novel starring her series hero, Marshal Guarnaccia, of the Florence Carabinieri, is a welcome event for all fans of international crime fiction." —Booklist Praise for Magdalen Nabb "It takes a writer as good as Magdalen Nabb to remind us how subtle the art of the mystery can be."—*New York Times* Views: 34
"My mother was never easy in the world of houses. She was a tinker, a traveler girl who had married a wealthy man. Her name was Agatha Sheehy....There are silences all around my mother's story." So begins The Nature of Water and Air, set on a patch of Irish coast where, amid a flurry of whispers, we meet Agatha's only surviving daughter, Clodagh. Determined to secure her mother's elusive love and the truth about her, Clodagh is swept into a relationship with a handsome, isolated man. He brings her to the heart of her mother's story, where she must confront the questions "Does a truth change love?" and "What madness will come from chasing a secret?" Powerfully sensitive, this startling debut novel about forbidden love will place Regina McBride among our most celebrated novelists. Views: 34
Discover the new Doctor Who classics. "Nice to meet you, Rose. Run for your life!"In a lair somewhere beneath central London, a malevolent alien intelligence is plotting the end of humanity. Shop window dummies that can move – and kill – are taking up key positions, ready to strike. Rose Tyler, an ordinary Londoner, is working her shift in a department store, unaware that this is the most important day of her life. She's about to meet the only man who understands the true nature of the threat facing Earth, a stranger who will open her eyes to all the wonder and terror of the universe – a traveller in time and space known as the Doctor. Views: 34
In an unforgettable new novel from award-winning authors Jason Reynolds and Brendan Kiely, two teens—one black, one white—grapple with the repercussions of a single violent act that leaves their school, their community, and, ultimately, the country bitterly divided by racial tension.A bag of chips. That's all sixteen-year-old Rashad is looking for at the corner bodega. What he finds instead is a fist-happy cop, Paul Galluzzo, who mistakes Rashad for a shoplifter, mistakes Rashad's pleadings that he's stolen nothing for belligerence, mistakes Rashad's resistance to leave the bodega as resisting arrest, mistakes Rashad's every flinch at every punch the cop throws as further resistance and refusal to STAY STILL as ordered. But how can you stay still when someone is pounding your face into the concrete pavement? But there were witnesses: Quinn Collins—a varsity basketball player and Rashad's classmate who has been raised by Paul since his own father died... Views: 34
THROUGH A MURDERER'S EYES...Caught under the tyrannical thumb of her new prioress, Dame Frevisse finds welcome relief in leaving St. Frideswide nunnery on pilgrimage. But the road brings with it unwelcome company: The wealthy Lionel Knyvet has been possessed by a foul demon. Seeking relief from the horrific terrors visited upon his body each fortnight, Lionel has dragged his entire household on an endless pilgrimage across the breadth and length of England. Frevisse wants nothing more than the peaceful bliss of travel, but must instead endure the incessant chattering of a mob.Lionel's possession, however, may only mask a darker sin. When the pilgrims make their way to the manor house at Minster Lovell, Frevisse begins to unwind the bitter poisons of jealousy and betrayal eating at the hearts of both Lionel and his brother Giles. Against her will, the innocent nun is drawn into the vilest depths of the human soul and there she unlocks the mysteries of a blackened heart. But even when the truth comes out, can justice be done? The pure of heart will find no peace when murder and death come knocking at the manor's door...PRAISE FOR THE MURDERER'S TALE"Frazer has created the most despicable villain since Iago." - Patricia W. Julius, Detective as Historian"Historical readers will be charmed with the story; feminists will be delighted with the strong female characters. Ellis Peters has a worthy successor in Margaret Frazer." - Meritorious Mysteries"Expertly captures the flavor of the period with vivid descriptions and creates dimensional characters true to the times." - Rendezvous"A diabolically smooth and logical frame-up... Frazer springs substantial surprises. A moving portrait of how afflictions torment body and mind and a meditation on selfless friendship. It's a treat, with memorable characters and a thoughtful, bittersweet ending." - S.M. Tyson, The Armchair DetectivePRAISE FOR THE SISTER FREVISSE MYSTERIES"Within the graceful prose rhythms that have garnered her two Edgar nominations, Frazer's tale of 15th-century nun Dame Frevisse transports the reader to a medieval England made vivid and a world of emotions as familiar then as now." - Publisher's Weekly"Mystery... Suspense... Frazer executes with audacity and ingenuity." - Kirkus Reviews"Margaret Frazer is on a rip. Each book is better and stronger than the last, and it's almost a privilege to be on the journey as the skillful Frazer takes her heroine, Dame Frevisse, all over Britain solving crimes." - Aunt Agatha's"There is action aplenty and intrigue in abundance." - Historical Novels ReviewA Romantic Times Top Pick.Twice nominated for the Minnesota Book Award.Twice nominated for the Edgar Award.Review'Engrossing' - Red Roses for Authors 'History fans will relish every minute' - Publisher's Weekly 'Appealing characters and crisp writing' - Los Angeles Times About the AuthorMargaret Frazer was a finalist for an Edgar Award for Best Original Paperback for both The Servant’s Tale and The Prioress’ Tale. The Sister Frevisse series includes The Novice’s Tale, The Servant’s Tale, The Outlaw’s Tale, The Bishop’s Tale, The Boy’s Tale, The Murderer’s Tale, The Prioress’ Tale, The Maiden’s Tale, The Reeve’s Tale, and The Squire’s Tale. She lives in Minneapolis, Minnesota. Views: 34
For fans of Downton Abbey comes a ravishing portrait of the late 19th Century family from one of Britain’s best-loved authors.Fay Weldon's new novel takes us inside the lives of an aristocratic household in the last three months of the nineteenth century. It's a time of riot and confusion, social upheaval, war abroad and shortage of money. Tea gowns are still laced with diamonds; there are still nine courses at dinner, but bankruptcy looms for the Dilbernes.Whilst the Earl, gambler and man about town, must seek a new post in government; his wife Lady Isobel's solution is to marry off their son Arthur to a wealthy heiress, and without delay. But how? It's the end of the season, and choices are few. There's Minnie O'Brien from Chigaco - rich enough, but daughter of a stockyard baron, and with a vulgar mother and dubious past. Hardly suitable...!Fay Weldon tells this tale of restraint and desire, manners and morals with wit and sympathy - if no small measur... Views: 34
Philip Roth says the novel is dead, but it would be more accurate to say the audience is dead – we're all just too polite to mention it. What is killing the novel is people's growing dependence on feel-good fiction, fantasy and non-fiction. With this comes an inability or unwillingness to tolerate any irregularities of form, a prissy quibbling over capital letters, punctiliousness about punctuation. They act like we're still at school! Real writing is not about rules. It's about electrifying prose, it's about play. For anyone who wants to write or read daredevil, risk-taking prose, therefore, it was tremendously encouraging that Elfriede Jelinek won the Nobel prize for literature in 2004. But most British readers hadn't heard of her, despite four novels being available from Serpent's Tail (Lust, Wonderful, Wonderful Times, Women as Lovers, and The Piano Teacher), all of them full of her uniquely sneering tone and tireless fury with the human race. Jelinek seized the novel by its bootstraps and shook it upside down. Was she looking for coins or keys, or just trying to prevent fiction swallowing any more insincerity? Her dynamic writing gives a sense of civilisation surviving against the odds. Jelinek's work is brave, adventurous, witty, antagonistic and devastatingly right about the sorriness of human existence, and her contempt is expressed with surprising chirpiness: it's a wild ride. She has also developed a form of cubism, whereby she can approach any subject from any angle, sometimes within the same sentence, homing in with sudden tenacity on some detail such as dirndls or murderers' female pen-pals. Recreating the way the brain lurches along, spreads out, reels itself in or goes on strike, her metaphors and puns run amok, beauteousness sacrificed to a kaleidoscopic inventiveness. Wrongly accused here of writing porn, in America she has been criticised, absurdly, for living with her mother, having a website, and not going along with the war in Iraq. They treat her like some kind of moral philosopher. You can't blame a novelist for being provocative and voicing dissent – that's her job! Without novelists, who's to guide us? Scientists? Priests? Politicians? The innovation in Greed is that Jelinek intrudes more than ever before, rushing in and out of her own book like someone with tummy trouble. She likes to present herself as the bumbling author: "It's a frequent reproach, that I stand around looking stupid and drop my characters, before I even have them, because to be honest I pretty quickly find them dull." She admits to many mistakes: "Oh dear, that doesn't work, and it's also a repetition. Forgive me, I often can't keep up with myself." She hates naming her characters – "It sounds so silly." She identifies a needy piano teacher as a portrait of herself, then proceeds to ridicule and finally destroy her. What it amounts to is a dismantling of the novel before our eyes. Greed lacks the focus of Jelinek's previous books, and is nearly incoherent at times. It is a cry of despair – despair about herself as a writer as much as about the characters she invents: "What is so wretched about me, that I can only be used for writing?" These are the exasperated outpourings of a great writer suffering from a lack of recognition (the book was written before Jelinek won the Nobel). There's a bewildered, lonely quality to it, as well as a few too many references to current affairs, and some lazy passages that suggest she no longer believes she has any readers at all – and despite that, some wonderful, defiant mischief-making. She can't go on, she will go on. The plot, involving the semi-accidental murder of a teenage girl and the dumping of her body in an ominous lake, is minimal and haphazard, its main function to flesh out the divisions between men and women. They are on completely different wavelengths, the women in love with a "country policeman", and he latently in love with men, and blatantly with property. There are other greeds, too, that of banks, naturally, and phone companies, "hot for our voices", and the church. Describing a fancy crucifix, Jelinek writes: "the prominent victim is so full of pride at his stiff price that he's almost bursting out of the screws with which he's fastened to his instrument". But the country policeman's greed surpasses all. He has prostituted himself to every woman in the vicinity and beyond, in the hope that they will hand over their houses to him, or at least leave him something in their wills. He thinks of female genitalia in the same way, all these doors permanently flung open for him. Jelinek circles round him, disgustedly observing that he "completely lacks a whole dimension, that is… that there are other people apart from himself". "We should all hate corporeal life, but only this country policeman… really does hate it. One just doesn't notice at first, because he sometimes jokes and laughs and sings songs to the accordion." She is equally scathing about women and their repellent eagerness to be loved. Sex is furtive, violent, base – "you give each other a good licking" – and love merely a common foible which, for women at least, always involves a dangerous loss of selfhood. Jelinek gives us a startling glimpse here of what women are, as well as answering Freud's question, "What do women want?" It's neither gentle nor sweet nor safe nor reasonable – just true. Carole Angier *** Greed was published in German in 2000, and thus made part of the oeuvre for which Elfriede Jelinek was awarded the Nobel Prize in 2004. Its plot is soon told. Kurt Janisch, an Austrian country policeman, preys on women. He murders a very young one and drives an elderly one to suicide. This is a long novel, but few of its many pages actually advance the plot. Only now and then, as a sort of concession, will a sentence or two tell us what happens next. Greed might be variously described, but not, I think (pace the blurb), as a thriller. Mostly, Greed consists of digression, commentary and repetition. A reader interested in story will feel consistently thwarted; perhaps also that such an interest is inappropriate. Serious fiction, you might begin to feel, shouldn't pander to readers wanting to know what happens next. In German (but not in this translation) the novel has a sub-title: Ein Unterhaltungsroman; that is, light reading, or a novel you might read for fun. This term is at least Jelinek's own, a part of her project and the first note of her characteristic tone of voice, which is sardonic. There are many voices in Greed – the women, Janisch, others in their community – but all sound much the same, infected by the sardonic facetiousness of the author herself; so that, despite its variety of perspective, the tone of the whole is remarkably homogeneous. That tone is a slant expression of outrage, sign of Jelinek's moral seriousness. Her plot and its characters are a canker within the canker of Austria, which may itself be an exemplar of things in general. Janisch is indeed a nasty piece of work. He has brutal sex with women, hates, fears and despises them; but his greed is really for property. Most readers would, I guess, have been able to develop out of Janisch's character and deeds a critique of the most rapacious and murderous tendencies in modern capitalism; Jelinek does it for them. She is a ranter, and there is much to rant about: polluted lakes, mined-out mountains, tourism, sport, old people's homes, the Nazi past, the fascistic present, the traffic… In the ranting, she resembles her compatriot Thomas Bernhard; but he is, blackly speaking, funnier. Bernhard's sentences give pleasure. Jelinek seems to want to match the ugliness of her subject with a language that, if not always downright ugly, is never attractive. The sentences are made unshapely by the expanding bulk of ridiculed material. Her book steadfastly prohibits what literary language engenders naturally: pleasure. Her translator aids and abets her in this. All the author's inventiveness goes into the book's lateral expansion. Her procedures are baroque: a heaping up of instances; frequent allegorising; bizarre conceits. You might even call her whimsical. She devises far-fetched ways of saying a thing, to shock us into awareness with a grisly whimsy. Greed has considerable energy and force. Its moral urgency is beyond doubt. But, reading it, you enter a swirling fog of rage, outrage and sardonic contempt that envelops everything, victims and villain alike, the women in their way being as bad as he is: so foolish, so greedy for affection, gobbling him up, no wonder he is fearful. Throughout it all, insistently, comes the author's own voice, sardonic towards herself, doubting her right and ability do what she is doing. This is the stuff of secondary literature: fiction's failure in the face of life. But a persuasive fiction, one in which the author and readers believe, is more powerful, and can do more good, than Jelinek allows herself to suppose. David Constantine Views: 34
Alice never imagined that she would end up like this. Is she the only mother who feels so permanently panic-stricken at the terrors of the modern world -- or is it normal to sit up in bed all night popping bubble wrap? She worries that too much gluten and dairy may be hindering her children's mental arithmetic. She frets that there are too many cars on the road to let them out of the 4x4. Finally she resolves to take control and tackle her biggest worry of all: her daughter is definitely not going to fail that crucial secondary school entrance exam. Because Alice has decided to take the test in her place...With his trademark comic eye for detail, John O'Farrell has produced a funny and provocative book that will make you laugh, cry and vow never to become that sort of parent. And then you can pass it on to your seven-year-old, because she really ought to be reading grown-up novels by now... Views: 34
A look into what moved Andy Warhol's greatest muse Located at 33 Union Square West in the heart of New York City's pulsing downtown scene, Andy Warhol's Factory was an artistic anomaly. Not simply a painter's studio, it was the center of Warhol's assembly-line production of films, books, art, and the groundbreaking Interview magazine. Although Warhol's first Factory on East 47th Street was known for its space-age silver interior, the Union Square Factory became the heart, brain, eyes, and soul of all things Warhol—and was, famously, the site of the assassination attempt that nearly took his life. It also produced a subculture of Factory denizens known as superstars, a collection of talented and ambitious misfits, the most glamorous and provocative of whom was the transgender pioneer Candy Darling. Born James Slattery in Queens in 1944 and raised on Long Island, the author began developing a female identity as a young child. Carefully... Views: 34
