Lake Wobegon Days
A young narrator chronicles his coming-of-age in Minnesota’s Lake Wobegon, a fictitious small town where all the women are strong, all the men are good-looking, and all the children are above average
A young narrator chronicles his coming-of-age in Minnesota’s Lake Wobegon, a fictitious small town where all the women are strong, all the men are good-looking, and all the children are above average
Welcome to the Monkey House is a collection of Kurt Vonnegut’s shorter works. Originally printed in publications as diverse as The Magazine of Fantasy and Science Fiction and The Atlantic Monthly, these superb stories share Vonnegut’s audacious sense of humor and extraordinary range of creative vision.
Alternative cover edition here
Cannery Row is a book without much of a plot. Rather, it is an attempt to capture the feeling and people of a place, the cannery district of Monterey, California, which is populated by a mix of those down on their luck and those who choose for other reasons not to live "up the hill" in the more respectable area of town. The flow of the main plot is frequently interrupted by short vignettes that introduce us to various denizens of the Row, most of whom are not directly connected with the central story. These vignettes are often characterized by direct or indirect reference to extreme violence: suicides, corpses, and the cruelty of the natural world.
The "story" of Cannery Row follows the adventures of Mack and the boys, a group of unemployed yet resourceful men who inhabit a converted fish-meal shack on the edge of a vacant lot down on the Row.
Sweet Thursday is the sequel to Cannery Row.
DeDaumier-Smith's Blue Period, Teddy, and A Perfect Day for Bananafish are among the nine works in a collection of Salinger's perceptive and realistic short stories
Librarian's note: An alternate cover edition can be found here
Navigating between the Indian traditions they've inherited and the baffling new world, the characters in Jhumpa Lahiri's elegant, touching stories seek love beyond the barriers of culture and generations. In "A Temporary Matter," published in The New Yorker, a young Indian-American couple faces the heartbreak of a stillborn birth while their Boston neighborhood copes with a nightly blackout. In the title story, an interpreter guides an American family through the India of their ancestors and hears an astonishing confession. Lahiri writes with deft cultural insight reminiscent of Anita Desai and a nuanced depth that recalls Mavis Gallant.
This book contains two separate stories: "Raise High the Roof Beam, Carpenters" is the first, and "Seymour: An Introduction" is the second.
"Raise High the Roof Beam, Carpenters" is a story about the Glass family, narrated by Buddy, the second oldest brother. Buddy is attending his brother Seymour's wedding to a gal named Muriel, but he's on Army leave during active duty in World War II. At the wedding, everyone is stunned when Seymour does not show up.
The action of the story picks up when several characters end up carpooling together following the failed wedding. The others (the Matron of Honor and her husband, and a couple of stragglers) are talking about Seymour and the disappointment of his not showing up, and Buddy never tells them that he is secretly Seymour's brother, so they talk more openly with him than they otherwise would.
They criticize Seymour and speculate about his character flaws and deficiencies, but Buddy finds their assessments quite judgmental and biased. He then decides to tell the car who he really is, shaming them for their loose criticisms.
He finds Seymour's journal, and he discovers a strange message from their sister Boo Boo for Seymour on their bathroom mirror: "Raise high the roof beam, carpenters. Like Ares comes the bridegroom/ taller far than a tall man." This is a fragment from the Greek poet Sappho.
"Seymour: An Introduction" is a kind of elegy for Seymour from Buddy, told in the form of an introduction to the reader. The reader makes Seymour's acquaintance while knowing that Seymour technically isn't alive when the story is published, having killed himself in 1948.
This portion of the story is told in stream of consciousness, and it discusses Eastern religious mysticism.
Do lobsters feel pain? Did Franz Kafka have a funny bone? What is John Updike's deal, anyway? And what happens when adult video starlets meet their fans in person? David Foster Wallace answers these questions and more in essays that are also enthralling narrative adventures. Whether covering the three-ring circus of a vicious presidential race, plunging into the wars between dictionary writers, or confronting the World's Largest Lobster Cooker at the annual Maine Lobster Festival, Wallace projects a quality of thought that is uniquely his and a voice as powerful and distinct as any in American letters.
Contains: "Big Red Son," "Certainly the End of Something or Other, One Would Sort of Have to Think," "Some Remarks on Kafka's Funniness from Which Probably Not Enough Has Been Removed," "Authority and American Usage," "The View from Mrs. Thompson's," "How Tracy Austin Broke My Heart," "Up, Simba," "Consider the Lobster," "Joseph Frank's Dostoevsky" and "Host."
This collection ranges over the verse, stories, essays, and journalism of one of the twentieth century's most quotable authors.
Alternate-cover edition can be found here
In his second collection, Carver establishes his reputation as one of the most celebrated and beloved short-story writers in American literature—a haunting meditation on love, loss, and companionship, and finding one’s way through the dark.