"This is perhaps Auster’s best book . . . Man In The Dark is so unlike anything Auster has ever written that it doesn’t make sense to compare it with his earlier work . . . Here we have multiple worlds and three generations . . . Auster’s book leaves one with a depth of feeling much larger than might be expected from such a small and concise work of art."—Stephen Elliott, San Francisco Chronicle

"His latest novel, Invisible, finds [Auster] returning to the same thematic territory he has long occupied—the four-way intersection of memory, language, fate and self-discovery—with that playfulness very much intact. His subject here is the memoirist's subjective truth, and his object is to get us thinking about the ways in which it is constructed, edited and processed into what we think of as objective reality . . . 'I sometimes confuse my thoughts about the world with the world itself,' says one character at the end of Invisible. 'I'm sorry if I offended you.' Some undoubtedly will be offended . . . One hopes that, in this case, readers will stay for the duration. The pleasures found inside are well worth the labor required to uncover them."—Jeff Turrentine, The Washington Post

“With its offbeat style, Berlinski's consummate fieldwork—fictional though it may be—produces an intricate whodunit, both disturbing and entertaining. Even as he confesses to feeling ‘like the baton in a relay race of faulty memories and distant recollections,’ Berlinski meticulously unearths Martiya's ‘good story,’ taking readers on an intoxicating journey filled with missing souls and vengeful spirits.”—Terry Hong, The Washington Post

"His best work—it's terrific, piercing, and funny. The novel demonstrates every kind of strength."—David Lipsky, The New York Times Book Review

Winner of the Pulitzer Prize

"A towering achievement . . . A story that manages to be both illuminating and transcendent . . . [Eugenides] has emerged as the great American writer many of us suspected him of being."—Jeff Turrentine, Los Angeles Times Book Review

"Constantly shifting modes, from comic realism to tall tale, from recounted dreams to refashioned movie plots, Everett's hall of mirrors narrative presents African American identity itself as rooted in contradiction."—Gregory Leon Miller, San Francisco Chronicle

"To say that The Forever War is the best science fiction war novel ever written is to damn it with faint praise. It is, for all its techno-extrapolative brilliance, as fine and woundingly genuine a war story as any I've read."—William Gibson, author of Neuromancer, Spook Country

"Hustvedt's descriptions of the immigrant experience and the Minnesota landscape have a spare Scandinavian elegance, while her account of the life of a Brooklyn psychoanalyst feels quietly authentic. She takes unapologetic delight in intellectual characters who understand their lives through far-ranging reading and lively conversation . . . she proves herself a writer deftly able to weave intricate ideas into an intriguing plot."—Sylvia Brownrigg, The New York Times

"Takes the traditional pattern of a picaresque novel—an episodic recounting of roguish schemes gone awry—and decorates it with a richly textured overlay of embroidery, applique, collage and found art . . . Mda writes about hardscrabble lives without dwelling on the hardscrabble . . . Mda's elegant patchwork of clever storytelling, wry characterization and good-natured humor is more than enough."—John R. Alden, The Plain Dealer (Cleveland)

"A compelling account of the 1960s and their aftermath, a carefully written and discerning narrative with closely drawn portraits of prototypical yet unique women trying to construct a friendship across and unbridgeable class divide . . . The Last of Her Kind appears to share common ground with novels like The Group by Mary McCarthy and ona Jaffe's Class Reunion. And the historical events, both real and invented, that provide its backdrop give Nunez's story tragic dimensions . . . Nunez's keen powers of observation make her a natural chronicler. It's not hard to suspect she has plenty of good stories about her own life to tell."—Megan Marshall, The New York Times Book Review

"As formulaic as this plot might sound, Mr. Perrotta uses it not to construct a conventional screwball romance but to create a sad-funny-touching story that looks at the frustrations and perils of life in suburbia through darkly tinted, not rose-colored glasses."—Michiko Kakutani, The New York Times

"[Powers'] cerebral new novel offers a chilling examination of the life we're reengineering with our chromosomes and brain chemistry . . . Powers sticks so closely to the state of current medical science and popular culture that this isn't so much a warning as a diagnosis. And as with any frightening diagnosis, you'll be torn between denial and a desperate urge to talk about it . . . With Generosity, Powers has performed a dazzling cross-disciplinary feat, linking the slippery nature of 'creative nonfiction' to the moral conundrums of genetic engineering. Although you might expect a novel so weighted with medical and philosophical arguments to flatten its characters into brittle stereotypes, ultimately that's the most impressive aspect of this meditation on happiness and humanness. As Generosity drives toward its surprising conclusion, these characters grow more complex and poignant, increasingly baffled by the challenge and the opportunity of remaking ourselves to our heart's content."—Ron Charles, The Washington Post Book World

“[Price’s] new novel, Lush Life, which is filled with page after page of vital speech, shows him inventing a life for dialogue rather than just taking it from life; and this spoken magic is often indistinguishable from Price’s apparently more formal, descriptive prose. Of course, the author of such novels as Clockers and Samaritan (as well as episodes for The Wire, and several movies) has done his urban homework.”—James Wood, The New Yorker

"Poet's novels tend to be finely wrought, pretty failures—or worse. Ron Rash, a justly admired poet, is an exhilarating exception, and his third book-length work of fiction, The World Made Straight, marks him as a major Southern writer . . . Rash is too fine and knowing a writer to allow even a hint of folkloric sentimentality to intrude. His fiction inhabits a territory of great beauty and few material consolations . . . The World Made Straight is his most ambitious novel . . . Rash's skill as a storyteller, allows this novel to succeed as an intellectually satisfying work of suspense . . . The World Made Straight reminds us of the sort of compelling literature a brave artist can fashion from the shards of experience.  It is less the literature of post-apocalyptic landscape than it is one in which life, searching for reconciliation, continuously recapitulates the apocalypse in ways both social and personal."—Tim Rutten, Los Angeles Times

"It is a book unsparing in its acknowledgement of sin and unstinting in its belief in the possibility of grave.  It is at once hard and forgiving, bitter and joyful, fanatical and serene.  It is a wild, eccentric radical work of literature that grows out of the broadest, most fertile, most familiar native literary tradition.  What a strange old book it is.”—The New York Times Book Review

“Fresh out of Dartmouth, Daren Simkin went to Hollywood, only to score a job interview to become Gore Vidal’s personal assistant. Next thing he knew, he found himself 'discussing the great matters of history, politics, and literature with the fellow himself.’ Having passed muster, Daren found he excelled at such arduous tasks as fetching tumblers of fine whiskey and listening to anecdotes about Gore’s golden youth. Inevitably, the literary atmosphere rubbed off, and Daren, now 26, wrote his own book. Illustrated by him and his brother Daniel, a 29-year-old rocket scientist, it is a charming fable called The Traveler.”—Vanity Fair