Recommendations based on "Nineteen Eighty-five"

The AlchemistThe Devil and Miss PrymEleven MinutesVeronica Decides To DieThe Fifth Mountain

A narrative particle accelerator that zooms between Wild Turkey Whiskey and Bob Dylan, unicorn skulls and voracious librarians, John Coltrane and Lord Jim. Science fiction, detective story and post-modern manifesto all rolled into one rip-roaring novel, Hard-boiled Wonderland and the End of the World is the tour de force th

International Bestseller • Winner of the Los Angeles Times Book Prize for Fiction“Far more than a conventional novel. It is a meditation on life, on the erotic, on the nature of men and women and love . . . full of telling details, truths large and small, to which just about every reader will respond.” — PeopleIn The Unbearable Lightness of Being, acclaimed author Milan Kundera tells the story of two couples, a young woman in love with a man torn between his love for her and his incorrigible womanizing, and one of his mistresses and her humbly faithful lover. In a world in which lives are shaped by irrevocable choices and by fortuitous events, a world in which everything occurs but once, existence seems to lose its substance, its weight. Hence, we feel "the unbearable lightness of being" not only as the consequence of our pristine actions but also in the public sphere, and the two inevitably intertwine.This magnificent novel, now available in a beautifully designed Harper Perennial Deluxe Edition with French flaps and deckle edged paper, is a story of passion and politics, infidelity and ideas, and encompasses the extremes of comedy and tragedy, illuminating all aspects of human existence.

A second volume of collected short fiction—from the bestselling author and winner of the 2015 Rea Award for the Short StoryFew authors write with such sheer love of story and language as T.C. Boyle, and that is nowhere more evident than in his inventive, wickedly funny, and always entertaining short stories. In 1998, T.C. Boyle Stories brought together the author’s first four collections to critical acclaim. Now, T.C. Boyle Stories II gathers the work from his three most recent collections along with fourteen new tales previously unpublished in book form as well as a preface in which Boyle looks back on his career as a writer of stories and the art of making them.By turns mythic and realistic, farcical and tragic, ironic and moving, Boyle’s stories have mapped a wide range of human emotions. The fifty-eight stories in this new volume, written over the last eighteen years, reflect his maturing themes. Along with the satires and tall tales that established his reputation, readers will find stories speaking to contemporary social issues, from air rage to abortion doctors, and character-driven tales of quiet power and passion. Others capture timeless themes, from first love and its consequences to confrontations with mortality, or explore the conflict between civilization and wildness. The new stories find Boyle engagingly testing his characters’ emotional and physical endurance, whether it’s a group of giants being bred as weapons of war in a fictional Latin American country, a Russian woman who ignores dire warnings in returning to her radiation-contaminated home, a hermetic writer who gets more than a break in his routine when he travels to receive a minor award, or a man in a California mountain town who goes a little too far in his concern for a widow.Mordant wit, emotional power, exquisite prose: it is all here in abundance. T.C. Boyle Stories II is a grand career statement from a writer whose imagination knows no bounds.

On the first day of the new year, no one dies. This, understandably, causes consternation among politicians, religious leaders, funeral directors, and doctors. Among the general public, on the other hand, there is initially celebration—flags are hung out on balconies, people dance in the streets. They have achieved the great goal of humanity: eternal life. Then reality hits home—families are left to care for the permanently dying, life-insurance policies become meaningless, and funeral directors are reduced to arranging burials for pet dogs, cats, hamsters, and parrots.Death sits in her chilly apartment, where she lives alone with scythe and filing cabinets, and contemplates her experiment: What if no one ever died again? What if she, death with a small d, became human and were to fall in love?

SUM is a dazzling exploration of funny and unexpected afterlives that have never been considered–each presented as a vignette that offers us a stunning lens through which to see ourselves here and now.In one afterlife you may find that God is the size of a microbe and is unaware of your existence. In another, your creators are a species of dim-witted creatures who built us to figure out what they could not. In a different version of the afterlife you work as a background character in other people’s dreams. Or you may find that God is a married couple struggling with discontent, or that the afterlife contains only those people whom you remember, or that the hereafter includes the thousands of previous gods who no longer attract followers. In some afterlives you are split into your different ages; in some you are forced to live with annoying versions of yourself that represent what you could have been; in others you are re-created from your credit card records and Internet history. David Eagleman proposes many versions of our purpose here; we are mobile robots for cosmic mapmakers, we are reunions for a scattered confederacy of atoms, we are experimental subjects for gods trying to understand what makes couples stick together.These wonderfully imagined tale–at once funny, wistful, and unsettling–are rooted in science and romance and awe at our mysterious existence: a mixture of death, hope, computers, immortality, love, biology, and desire that exposes radiant new facets of our humanity.

Roithamer has committed suicide having been driven to madness by his own frightening powers of pure thought. We witness the gradual breakdown of a genius ceaselessly compelled to correct and refine his perceptions until the only logical conclusion of the negation of his own soul.

The contemporary and the mythic collide in this hard-boiled tale of computers and conspiracy theories, unicorns and ancient lands.

"I'm not on good terms with the present day," Sigizmund Krzhizhanovsky once mused, "but posterity loves me." Virtually unknown during his lifetime and unpublishable under Stalin, he now draws comparisons to Beckett, Borges, Gogol, and Swift. This book presents three tales that encapsulate Krzhizhanovsky's gift for creating philosophical, satirical, and lyrical phantasmagorias. "Stravaging 'Strange'" details the darkly comic adventures of an apprentice magus: lovesick, he imbibes a magic tincture to reduce himself to the size of a dust mote, the better to observe the young lady in question. He stumbles across a talkative king of hearts, a gallant flea, a coven of vindictive house imps, and his romantic rival along the way to a cinematic dénouement. "Catastrophe" wryly parodies Kant's philosophy: an old sage decides to extract the essence from all things and beings in a ruthless attempt to understand reality--and chaos ensues. "Material for a Life of Gorgis Katafalaki," set in Berlin, Paris, London, and Moscow, recounts the absurd trials of an otherworldly outsider of uncertain nationality and unfixed profession with boundless curiosity but scant means. This book also includes excerpts from Krzhizhanovsky's notebooks--aphoristic glimpses of his worldview, moods, humor, and writing methods--and reminiscences of Krzhizhanovsky by his lifelong companion, Anna Bovshek, beginning with their first meeting in Kiev in 1920 and ending with his death in Moscow in 1950.

Dubbed “Nietzsche without his hammer” by literary critic James Wood, the Romanian philosopher E. M. Cioran is known as much for his profound pessimism and fatalistic approach as for the lyrical, raging prose with which he communicates them. Unlike many of his other works, such as On the Heights of Despair and Tears and Saints, The New Gods eschews his usual aphoristic approach in favor of more extensive and analytic essays. Returning to many of Cioran’s favorite themes, The New Gods explores humanity’s attachment to gods, death, fear, and infirmity, in essays that vary widely in form and approach. In “Paleontology” Cioran describes a visit to a museum, finding the relatively pedestrian destination rife with decay, death, and human weakness. In another chapter, Cioran explores suicide in shorter, impressionistic bursts, while “The Demiurge” is a shambolic exploration of man’s relationship with good, evil, and God. All the while, The New Gods reaffirms Cioran’s belief in “lucid despair,” and his own signature mixture of pessimism and skepticism in language that never fails to be a pleasure. Perhaps his prose itself is an argument against Cioran’s near-nihilism: there is beauty in his books.