Lima sahabat telah menjalin persahabatan selama tujuh tahun. Mereka adalah Arial yang paling tampan, Riani sebagai satu-satunya wanita dalam kelompok itu, Zafran yang berlagak seperti seorang penyair, Ian yang paling subur badannya, dan Genta yang dianggap sebagai leader dalam kelompok itu.

Kegemaran mereka adalah mengeksekusi hal-hal yang tidak mungkin dan mencoba segala hal, mulai dari kafe paling terkenal di Jakarta, sampai nonton layar tancap. Semuanya penggemar film, dari film Hollywood sampai film yang nggak kelas—kecuali film India karena mereka punya prinsip bahwa semua persoalan di dunia atau masalah pasti ada jalan keluarnya, tapi bukan dalam bentuk joget.

Suatu saat, karena terdorong oleh rasa bosan di antara satu dan yang lain, mereka memutuskan untuk tidak saling berkomunikasi dan bertemu satu sama lain selama tiga bulan. Selama tiga bulan berpisah itulah telah terjadi banyak hal yang membuat hati mereka lebih kaya dari sebelumnya.

Pertemuan setelah tiga bulan yang penuh dengan rasa kangen akhirnya terjadi dan dirayakan dengan sebuah perjalanan. Sebuah perjalanan yang penuh dengan keyakinan, mimpi, cita-cita, dan cinta. Sebuah perjalanan yang telah mengubah mereka menjadi manusia sesungguhnya, bukan cuma seonggok daging yang bisa berbicara, berjalan, dan punya nama.

Ada yang pernah bilang kalau idealisme adalah kemewahan terakhir yang dimiliki oleh generasi muda….

A Long Walk to Water begins as two stories, told in alternating sections, about a girl in Sudan in 2008 and a boy in Sudan in 1985.

The girl, Nya, is fetching water from a pond that is two hours’ walk from her home. She makes two trips to the pond every day.

The boy, Salva, becomes one of the "lost boys" of Sudan, refugees who cover the African continent on foot as they search for their families and for a safe place to stay.

Enduring every hardship from loneliness to attack by armed rebels to contact with killer lions and crocodiles, Salva is a survivor, and his story goes on to intersect with Nya’s in an astonishing and moving way.

But What If We're Wrong? visualizes the contemporary world as it will appear to those who'll perceive it as the distant past. Chuck Klosterman asks questions that are profound in their simplicity: How certain are we about our understanding of gravity? How certain are we about our understanding of time? What will be the defining memory of rock music, five hundred years from today? How seriously should we view the content of our dreams? How seriously should we view the content of television? Are all sports destined for extinction? Is it possible that the greatest artist of our era is currently unknown (or--weirder still--widely known, but entirely disrespected)? Is it possible that we "overrate" democracy? And perhaps most disturbing, is it possible that we've reached the end of knowledge? Kinetically slingshotting through a broad spectrum of objective and subjective problems, But What If We're Wrong? is built on interviews with a variety of creative thinkers--George Saunders, David Byrne, Jonathan Lethem, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Díaz, Amanda Petrusich, Ryan Adams, Nick Bostrom, Dan Carlin, and Richard Linklater, among others--interwoven with the type of high-wire humor and nontraditional analysis only Klosterman would dare to attempt. It's a seemingly impossible achievement: a book about the things we cannot know, explained as if we did. It's about how we live now, once "now" has become "then."

Baldwin's haunting and controversial second novel is his most sustained treatment of sexuality, and a classic of gay literature. In a 1950s Paris swarming with expatriates and characterized by dangerous liaisons and hidden violence, an American finds himself unable to repress his impulses, despite his determination to live the conventional life he envisions for himself. After meeting and proposing to a young woman, he falls into a lengthy affair with an Italian bartender and is confounded and tortured by his sexual identity as he oscillates between the two.

Examining the mystery of love and passion in an intensely imagined narrative, Baldwin creates a moving and complex story of death and desire that is revelatory in its insight.

Kokoro (1914) is a novel by Natsume Sōseki. Set during a period of modernization in Japan, Kokoro is a story of family, faith, and tragedy that explores timeless themes of isolation and identity. Spanning generations, Kokoro is a classic novel from one of Japan's most successful twentieth century writers.

Tradition and change, life and death--such are the subjects of Sōseki's masterful, understated tale of unassuaged guilt. On vacation with a friend, the narrator meets an older man who becomes a patient mentor for the young student. Soon, he begins visiting Sensei and his wife at their home in Tokyo, where they live an affluent, simple life. As the years go by, the narrator becomes aware of a secret from Sensei's past, which his mentor promises to reveal when the time is right. When his father falls ill--around the time of the end of Meiji society--the narrator returns home to be closer to his family. As he tries to remain positive around so much sorrow, he begins to miss his Sensei, who is now getting old himself. As his father prepares to leave the mortal world, the narrator receives a lengthy letter from Tokyo, containing his Sensei's story within. As one era merges into the next, he reads of the suffering and mistakes his Sensei experienced and incurred on his path through life, drawing them closer and leaving the narrator with some wisdom to remember him by.

Eminently human, Kokoro is a beloved story of isolation, morality, and conflict from a master of Japanese fiction.

Sunny Foster waited her entire life to leave her truck stop home town of Beloit, Wisconsin. Her eighteen years had been nothing but pain and heartache, from the mysterious disappearance of her father to the fact that her first boyfriend left her for a world of drugs and addiction. And her mother, a high-school teacher, was in legal trouble for dating a nineteen-year old student.

Out of the wreckage of Sunny's life comes a way of hope in the form of Jahil, a Mexican immigrant, with a tragic past. Jahil has seen more of the world then Sunny could ever dream of, but there's a reason for that. When Sunny's mother goes missing the week of Christmas, the sheltered Midwestern girl must team with a modern-day rogue's gallery of punks, freaks, angels, demons and one Aztec demi-god, in a sexy, erotic, adventure down the rabbit hole of the Midwest.

Apart from breaking two of my mates' noses (one in the ring and one chasing a 'runner'), I used to be known for my stories. And they were all true. I'd come back from distant shores and speak of my adventures. So much so in fact that people used to say, "You should write a book."

My diatribes in my blogs and newspaper columns are simply my way of spinning the balls, because sometimes I like to see what number they land on. That’s all. But although I’m known mostly as a raconteur—and most of my books can be described as coming from the humourist vein—in ‘Nobody Asked Me’ I touch on some subjects that are surely going to upset a few people.

I’ve never quite understood the politically correct brigade. Hardly any subject is taboo to the Englishman when he’s laughing. No longer simply a fad, blogging is now an important new literary innovation. This book is not a story, and if you’re looking for a book that is all sweetness and light, please give this one a miss. It’s not for you. I won’t be offended and I honestly wish you a great life.

If everyone likes me, then I’m not being controversial enough—and trust me when I say that in this book I get controversial. Oh, don’t worry; the humour that my fans seem to enjoy so much is still there, but right now the planet’s spinning in new and scary directions, and this needs to be addressed. So inside the covers of this book I take a look at some of the challenges we’re currently facing. And some of my opinions are going to rattle a few people.

So is a comedy writer honestly the best one to challenge some of the perceptions we’re facing nowadays? Well, I’ve always believed that if you can make people laugh then they tend to listen to what you say when you’re serious. And my goal, my life’s ambition if you like, is to give direction to comedy, purpose to satire.

So why the rabbit popping out of a tin of soup on the cover? Well ‘Rabbit & Pork’ is Cockney rhyming slang for Talk, and on more than one occasion I’ve been accused of rabbiting away excessively—mostly at parties, and generally by my wife.

But why a tin of soup? Well, I tend to believe that everyone is born perfect. Nobody is born with an inherent capacity to hate. It has to be taught. All of our experiences—family, school, work, the books we read, the newspapers we peruse, the music we listen to, our friends, our social life, the opinions of those around us, religion, sports we play or watch, those we love and those who love us, those we desire and those who desire us, those we travel with, our hopes and dreams and ambitions and achievements, our triumphs and disasters—go into a metaphorical cooking pot that we carry with us throughout our lives. All these ‘ingredients’ make up our Soup of Life.

Now, when making a soup, once you’ve added an ingredient, it’s forever blended in and you can’t take it out again. You add a sprinkling of finely chopped garnish; cumin or oregano, and you can never take that ingredient out again. Never, ever, ever. So say at the age of six you add black pepper or rosemary or hatred or love or comedy, from then onwards it’ll always be part and parcel of your ‘soup.’ And as you add more ingredients the ‘recipe’ of your life evolves, and before you know it you can’t taste the coriander or the love any more, but it’s still there at a deep subliminal level. Remember that. Some people may not add hatred until they’re in their twenties, and most of us never add it at all.

This forthright narrative chronicles the author’s 1996 experiences as he adjusts to a massively transformed world. Emerging from 3 years in Saudi Arabia, and the 2 years prior cocooned in academia, he lands in Abu Dhabi to be hit with the triple-whammy of the NWO (1991), the WTO (1995), and the spigot of “India Inc.” opened wide.

Considered too old (at 40) by his feminized native land, and too white-skinned by the Zio-Globalists, he must now face hostile (multicultural) politics and the economic subterfuge orbiting a liberal American empire dedicated to outsourcing and open borders.

Follow this Engineer’s eclectic adventures from the U.A.E., Malaysia, and England [Book-1] then on to India [Book-2] as he somehow negotiates a series of traps, obstacles, and near calamities while occasionally pausing to seduce a few of the world’s most exotic women.

This true, instructional, and entertaining testimony delivers a slew of lessons about how the 1990s cemented the fiscal and “chronically unemployed” quagmire plaguing the Western World since Y2K. Mesmerized by the “Clinton White House”, most people refused to listen back then. Twenty or more years on, could this book open your eyes now?

Among the many things Peter doesn’t know, he doesn’t know he’s an archetype, the Prince of Coins incarnate. He doesn’t know his fiancé is a fortune teller either. He doesn’t know Russian culture, politics, or language, but he does know American business. And he knows his fiancé speaks Russian. He thinks she can make him the new Tsar of the timber industry, but first they must survive a weekend with the Russian mob.

Red Russia is the story of an American businessman and his interpreter in Russia, of business, lies, and deception, of fortunes bought and told.

في هذا الكتاب يبدو أن محمود درويش ما زال قادراً على الإدهاش ومنح الشعر العربي مزيداً من الأناقة والجاذبية المسيطرة في وقت يتراجع فيه ذلك الشعر ويسترسل في هذيانية بائسة وجهل مطبق.

هنا يسأل درويش الشعر ويقيم حواجز للبلاغة وينقضّ على العبارة المعلبة في تمرد أسلوبي على المعنى والصورة في سياق اختراق للمفاهيم المتعارف عليها والمكررة والمملة.

إنها أسئلة الشعر الأصلية من السرير وفاتورة الكهرباء إلى نخلة السومرية إلى نيويورك إلى وردة أريحا.. ونحن نلهث وراء الشاعر الذي يسابق الزمن ويحاول المستحيل.