Tertuliano Máximo Afonso is a history teacher in a secondary school. He is divorced, involved in a rather one-sided relationship with a bank clerk, and he is depressed. To lift his depression, a colleague suggests he rent a certain video. Tertuliano watches the film and is unimpressed. During the night, noises in his apartment wake him. He goes into the living room to find that the VCR is replaying the video, and as he watches in astonishment, he sees an actor who looks exactly like him—or, more specifically, exactly like the man he was five years before, moustachioed and fuller in the face.

He sleeps badly. Against his own better judgement, Tertuliano decides to pursue his double. As he establishes the man's identity, what begins as a whimsical story becomes a dark meditation on identity and, perhaps, on the crass assumptions behind cloning—that we are merely our outward appearance rather than the sum of our experiences.

In the stories that make up Oblivion, David Foster Wallace joins the rawest, most naked humanity with the infinite involutions of self-consciousness—a combination that is dazzlingly, uniquely his. These are worlds undreamt of by any other mind.

Only David Foster Wallace could convey a father's desperate loneliness by way of his son's daydreaming through a teacher's homicidal breakdown ("The Soul Is Not a Smithy"). Or could explore the deepest and most hilarious aspects of creativity by delineating the office politics surrounding a magazine profile of an artist who produces miniature sculptures in an anatomically inconceivable way ("The Suffering Channel").

Or capture the ache of love's breakdown in the painfully polite apologies of a man who believes his wife is hallucinating the sound of his snoring ("Oblivion"). Each of these stories is a complete world, as fully imagined as most entire novels, at once preposterously surreal and painfully immediate.

Spring Water by John M. FitzGerald is a book unlike any other in contemporary poetry: a novel-in-verse about an ordinary man who, quietly and without notice, lives the life of a serial killer.

This haunting, and disturbingly plausible, collection establishes FitzGerald as an important new voice in narrative poetry.

He's a charming monster... A macabre hero... A serial killer who only kills bad people.

Dexter Morgan has been under considerable pressure. It's just not easy being an ethical serial killer - especially while trying to avoid the unshakable suspicions of the dangerous Sergeant Doakes (who believes Dexter is a homicidal maniac...which, of course, he is). In an attempt to throw Doakes off his trail, Dexter has had to slip deep into his foolproof disguise.

While not working as a blood-spatter analyst for the Miami Police Department, he now spends nearly all his time with his cheerful girlfriend, Rita, and her two children, sipping light beer and slowly becoming the world's first serial couch potato. But how long can Dexter play Kick the Can instead of Slice the Slasher? How long before his Dark Passenger forces him to drop the charade and let his inner monster run free?

In trying times, opportunity knocks. A particularly nasty psychopath is cutting a trail through Miami - a man whose twisted technique leaves even Dexter speechless. As Dexter's dark appetite is revived, his sister, Deborah (a newly minted, tough-as-nails Miami detective), is drawn headlong into the case. It quickly becomes clear that it will take a monster to catch a monster - but it isn't until his archnemesis is abducted that Dex can finally throw himself into the search for a new plaything. Unless, of course, his plaything finds him first...

With the incredible wit and freshness that drew widespread acclaim to Darkly Dreaming Dexter, Jeff Lindsay now takes Dexter Morgan to a new level of macabre appeal and gives us one of the most original, colorful narrators in years.

The riotous adventures of Vernon Gregory Little in small town Texas and beachfront Mexico mark one of the most spectacular, irreverent and bizarre debuts of the twenty-first century so far. Its depiction of innocence and simple humanity (all seasoned with a dash of dysfunctional profanity) in an evil world is never less than astonishing. The only novel to be set in the barbecue sauce capital of Central Texas, Vernon God Little suggests that desperate times throw up the most unlikely of heroes.

Tom Perrotta's thirty-ish parents of young children are a varied and surprising bunch. There's Todd, the handsome stay-at-home dad dubbed "The Prom King" by the moms of the playground; Sarah, a lapsed feminist with a bisexual past, who seems to have stumbled into a traditional marriage; Richard, Sarah's husband, who has found himself more and more involved with a fantasy life on the internet than with the flesh and blood in his own house; and Mary Ann, who thinks she has it all figured out, down to scheduling a weekly roll in the hay with her husband, every Tuesday at 9pm.

They all raise their kids in the kind of sleepy American suburb where nothing ever seems to happen—at least until one eventful summer, when a convicted child molester moves back to town, and two restless parents begin an affair that goes further than either of them could have imagined.

Unexpectedly suspenseful, but written with all the fluency and dark humor of Perrotta's previous novels, Little Children exposes the adult dramas unfolding amidst the swingsets and slides of an ordinary American playground.

Prétextat Tach, prix Nobel de littérature, n’a plus que deux mois à vivre. Des journalistes du monde entier sollicitent des interviews de l’écrivain que sa misanthropie tient reclus depuis des années. Quatre seulement vont le rencontrer, dont il se jouera selon une dialectique où la mauvaise foi et la logique se télescopent. La cinquième lui tiendra tête, et il se prendra au jeu.

Si ce roman est presque entièrement dialogué, c’est qu’aucune forme ne s’apparente autant à la torture. Les échanges, de simples interviews, virent peu à peu à l’interrogatoire, à un duel sans merci où se dessine alors un homme différent, en proie aux secrets les plus sombres.

Dans ce premier roman d’une extraordinaire intensité, Amélie Nothomb manie la cruauté, le cynisme et l’ambiguïté avec un talent accompli.

In the fourth book of the bestselling Cirque Du Freak series, Darren Shan and Mr. Crepsley embark on a dangerous trek to the very heart of the vampire world. But they face more than the cold on Vampire Mountain—the vampaneze have been there before them.

Will a meeting with the Vampire Princes restore Darren's human side, or turn him further toward the darkness? Only one thing is certain—Darren's initiation into the vampire clan is more deadly than he can ever have imagined.

Vincent Spinetti is an archetypal tortured artist – a sensitive young writer who falls victim to alienation, parental neglect, poverty, depression, alcoholism, illness, nervous breakdowns, and unrequited love. He is painfully unaware that these torments are due to the secret manipulations of New Renaissance, an experimental organization that is testing the age-old idea that art results from suffering.

Since culture is so significantly influenced by music, movies, and television, New Renaissance hopes to improve the mindless mainstream by raising writers who emphasize artistic quality over commerce. As part of its top-secret sub-project, New Renaissance hires reluctant ex-musician Harlan Eiffler to manipulate its most promising prodigy, Vincent. Wickedly antisocial and deeply disgusted by what passes for entertainment in the twenty-first century, Harlan clandestinely pulls the strings so that Vincent remains a true artist. All the while, he poses as Vincent's manager, simultaneously nurturing his prolific career and torturing his soul.

Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth. Choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats ye've produced. Choose life.

The bestselling novel by Irvine Welsh that provided the inspiration for Danny Boyle’s hit film takes us into the world of Mark Renton and his attempts to escape the bleak and destructive lifestyle of Edinburgh's heroin addicts. With its raw Scottish dialect and brutal honesty, Trainspotting navigates the challenges of addiction, poverty, and the quest for meaning in a seemingly indifferent world.

Misty Wilmot has had it. Once a promising young artist, she’s now stuck on an island ruined by tourism, drinking too much and working as a waitress in a hotel. Her husband, a contractor, is in a coma after a suicide attempt, but that doesn’t stop his clients from threatening Misty with lawsuits over a series of vile messages they’ve found on the walls of houses he remodeled.

Suddenly, though, Misty finds her artistic talent returning as she begins a period of compulsive painting. Inspired but confused by this burst of creativity, she soon finds herself a pawn in a larger conspiracy that threatens to cost hundreds of lives. What unfolds is a dark, hilarious story from America’s most inventive nihilist, and Palahniuk’s most impressive work to date.

En ce temps-là, on mettait des photographies géantes de produits sur les murs, les arrêts d'autobus, les maisons, le sol, les taxis, les camions, la façade des immeubles en cours de ravalement, les meubles, les ascenseurs, les distributeurs de billets, dans toutes les rues et même à la campagne.

La vie était envahie par des soutiens-gorge, des surgelés, des shampoings antipelliculaires et des rasoirs triple-lame. L'œil humain n'avait jamais été autant sollicité de toute son histoire : on avait calculé qu'entre sa naissance et l'âge de 18 ans, toute personne était exposée en moyenne à 350 000 publicités.

Même à l'orée des forêts, au bout des petits villages, en bas des vallées isolées et au sommet des montagnes blanches, sur les cabines de téléphérique, on devait affronter des logos "Castorama", "Bricodécor", "Champion Midas" et "La Halle aux Vêtements". Il avait fallu deux mille ans pour en arriver là.

Andy Gage was born in 1965 and murdered not long after by his stepfather. It was no ordinary murder. Though the torture and abuse that killed him were real, Andy Gage's death wasn't. Only his soul actually died, and when it died, it broke in pieces. Then the pieces became souls in their own right, coinheritors of Andy Gage's life.

While Andy deals with the outside world, more than a hundred other souls share an imaginary house inside Andy's head, struggling to maintain an orderly coexistence: Aaron, the father figure; Adam, the mischievous teenager; Jake, the frightened little boy; Aunt Sam, the artist; Seferis, the defender; and Gideon, who wants to get rid of Andy and the others and run things on his own.

Andy's new coworker, Penny Driver, is also a multiple personality, a fact that Penny is only partially aware of. When several of Penny's other souls ask Andy for help, Andy reluctantly agrees, setting in motion a chain of events that threatens to destroy the stability of the house. Now Andy and Penny must work together to uncover a terrible secret that Andy has been keeping from himself.

In Max Barry's twisted, hilarious, and terrifying vision of the near future, the world is run by giant corporations, and employees take the last names of the companies they work for. It's a globalized, ultra-capitalist free market paradise!

Meet Hack Nike, a lowly merchandising officer who's not very good at negotiating his salary. So when John Nike and John Nike, executives from the promised land of Marketing, offer him a contract, he signs without reading it. Unfortunately, Hack's new contract involves shooting teenagers to build up street cred for Nike's new line of $2,500 trainers.

Hack goes to the police—but they assume that he's asking for a subcontracting deal and lease the assassination to the more experienced NRA. Enter Jennifer Government, a tough-talking agent with a barcode tattoo under her eye and a personal problem with John Nike (the boss of the other John Nike). And a gun. Hack is about to find out what it really means to mess with market forces.

Berserk is manga mayhem to the extreme - violent, horrifying, and mercilessly funny - and the wellspring for the internationally popular anime series.

Not for the squeamish or the easily offended, Berserk asks for no quarter - and offers none! His name is Guts, the Black Swordsman, a feared warrior spoken of only in whispers. Bearer of a gigantic sword, an iron hand, and the scars of countless battles and tortures, his flesh is also indelibly marked with The Brand, an unholy symbol that draws the forces of darkness to him and dooms him as their sacrifice.

But Guts won't take his fate lying down; he'll cut a crimson swath of carnage through the ranks of the damned - and anyone else foolish enough to oppose him! Accompanied by Puck the Elf, more an annoyance than a companion, Guts relentlessly follows a dark, bloodstained path that leads only to death...or vengeance.

Murder Was Never So Much Fun!

Party Monster offers a startlingly vivid and strikingly fresh depiction of the hedonistic world of the New York City club kids. These are tales where nothing was too outré—including murder.

James St. James, an audaciously talented writer and former club kid, takes us on a journey through his world, where he was a close friend and confidant of Michael Alig, the young man convicted of killing the drug dealer known as Angel.

The book was originally published as Disco Bloodbath and was brought to the screen as Party Monster, starring Macaulay Culkin and Seth Green.

Toy Town—older, bigger, and certainly not wiser. The Old Rich, who have made their millions from the royalties on their world-famous nursery rhymes, are being murdered one by one. A psychopath is on the loose, and he must be stopped at any cost.

It’s a job for Toy Town’s only detective—but he’s missing, leaving only Eddie Bear, and his bestest friend Jack, to track down the mad killer.

Join them on a hilarious and epic adventure filled with heavy drinking, bad behaviour, car chases, gratuitous sex and violence, toy fetishism, and all-round grossness along the way. It's going to be an epic adventure!

Dear Reader,

If you have just picked up this book, then it is not too late to put it back down. Like the previous books in A Series of Unfortunate Events, there is nothing to be found in these pages but misery, despair, and discomfort, and you still have time to choose something else to read.

Within the chapters of this story, Violet, Klaus and Sunny Baudelaire encounter a darkened staircase, a red herring, some friends in a dire situation, three mysterious initials, a liar with an evil scheme, a secret passageway, and parsley soda.

I have sworn to write down these tales of the Baudelaire orphans so the general public will know each terrible thing that has happened to them, but if you decide to read something else instead, you will save yourself from a heapful of horror and woe.

With all due respect,

Lemony Snicket

The Metamorphosis and Other Stories, by Franz Kafka, is a collection that showcases Kafka's mastery in storytelling, encapsulating the anxieties and alienation of modern life in a surreal, often absurd, manner.

The Metamorphosis is Kafka's most famous story, where Gregor Samsa, a traveling salesman, wakes up one morning to find himself transformed into a giant insect. This harrowing yet amusing tale explores themes of alienation, family loyalty, and unconditional love.

Also included is The Judgment, which Kafka considered his breakthrough story, and The Stoker, the first chapter of his novel Amerika. These stories, along with The Metamorphosis, form a suite Kafka referred to as "The Sons," presenting a devastating portrait of the modern family.

Other notable stories in this collection include In the Penal Colony, which delves into the horrors of a torture machine, and A Hunger Artist, a tale of an artist's struggle to communicate with an uncomprehending public.

Kafka's lucid and succinct writing style captures the labyrinthine complexities and futility-laden horror of modern existence, making this collection a must-read for those interested in psychological and existential themes.

Schoolteacher Barbara Covett has led a solitary life until Sheba Hart, the new art teacher at St. George's, befriends her. But even as their relationship develops, so too does another: Sheba has begun an illicit affair with an underage male student.

When the scandal turns into a media circus, Barbara decides to write an account in her friend's defense—and ends up revealing not only Sheba's secrets, but also her own.

Richard Lafargue is an eminent plastic surgeon haunted by dirty secrets. He has an operating theatre in the basement of his chateau and keeps his partner Eve imprisoned in her bedroom, a room he has equipped with an intercom and 300-watt speakers through which he bellows orders. Eve is only allowed out to be paraded at cocktail parties and on the last Sunday of each month, when the couple visits a young woman in a mental asylum.

Following these outings, Lafargue humiliates Eve by forcing her to perform lewd sexual acts with strangers while he watches through a one-way mirror. In alternating chapters, Jonquet introduces seemingly unrelated characters - a criminal on the run after murdering a policeman, and an abducted young man who finds himself chained naked in a dark chamber, forced to endure all manner of physical torture at the hands of a mysterious stranger, whom he calls 'Mygale', after a type of tropical spider. All of these characters are caught in a deceitful web, doomed to meet their fate.

Dear reader,

The word carnivorous, which appears in the title of this book, means meat-eating, and once you have read such a bloodthirsty word, there is no reason to read any further. This carnivorous volume contains such a distressing story that consuming any of its contents would be far more stomach-turning than even the most imbalanced meal.

To avoid causing discomfort, it would be best if I didn't mention any of the unnerving ingredients of this story, particularly a confusing map, an ambidextrous person, an unruly crowd, a wooden plank, and Chabo the Wolf Baby.

Sadly for me, my time is filled with researching and recording the displeasing and disenchanting lives of the Baudelaire orphans. But your time might be better filled with something more palatable, such as eating your vegetables, or feeding them to someone else.

With all due respect,

John Vincent Dolan is a talented young forger with a proclivity for mathematics and drug addiction. In the face of his impending institutionalization, he continually reinvents himself to escape the legal and mental health authorities and to save himself from a life of incarceration. But running turns out to be costly.

Vincent's clients in the L.A. underworld lose patience, the hospital evaluator may not be fooled by his story, and the only person in as much danger as himself is the woman who knows his real name.

Carl Streator is a reporter investigating Sudden Infant Death Syndrome for a soft-news feature. After responding to several calls with paramedics, he notices that all the dead children were read the same poem from the same library book the night before they died. It's a 'culling song' - an ancient African spell for euthanising sick or old people. Researching it, he meets a woman who killed her own child with it accidentally. He himself accidentally killed his own wife and child with the same poem twenty years earlier. Together, the man and the woman must find and destroy all copies of this book, and try not to kill every rude sonofabitch that gets in their way. Lullaby is a comedy/drama/tragedy. In that order. It may also be Chuck Palahniuk's best book yet.

The Piano Teacher, the most famous novel of Elfriede Jelinek, is a shocking, searing, aching portrait of a woman bound between a repressive society and her darkest desires.

Erika Kohut is a piano teacher at the prestigious and formal Vienna Conservatory, who still lives with her domineering and possessive mother. Her life appears to be a seamless tissue of boredom, but Erika, a quiet thirty-eight-year-old, secretly visits Turkish peep shows at night to watch live sex shows and sadomasochistic films.

Meanwhile, a handsome, self-absorbed, seventeen-year-old student has become enamored with Erika and sets out to seduce her. She resists him at first, but then the dark passions roiling under the piano teacher's subdued exterior explode in a release of sexual perversity, suppressed violence, and human degradation.

Blue Angel is a gripping tale centered around Swenson, a professor in a New England creative writing program. It has been years since he has published a novel, and even longer since any of his students have shown promise.

Enter Angela Argo, a pierced, tattooed student with a rare talent for writing. Angela is exactly what Swenson needs. Better yet, she seeks his help. But, as the saying goes, the road to hell is paved with good intentions.

Deliciously risqué, Blue Angel offers a withering take on today's academic mores, presenting a scathing tale that vividly illustrates what happens when academic politics collide with political correctness.

The world of Patricia Highsmith has always been filled with ordinary people, all of whom are capable of very ordinary crimes. This theme was present from the beginning, when her debut novel, Strangers on a Train, galvanized the reading public.

Here we encounter Guy Haines and Charles Anthony Bruno, passengers on the same train. But while Guy is a successful architect in the midst of a divorce, Bruno turns out to be a sadistic psychopath who manipulates Guy into swapping murders with him. “Some people are better off dead,” Bruno remarks, “like your wife and my father, for instance.” As Bruno carries out his twisted plan, Guy is trapped in Highsmith’s perilous world, where, under the right circumstances, anybody is capable of murder.

The inspiration for Alfred Hitchcock’s classic 1951 film, Strangers on a Train launched Highsmith on a prolific career of noir fiction, proving her a master at depicting the unsettling forces that tremble beneath the surface of everyday contemporary life.

The Bridge is a darkly brilliant novel of self-discovery, residing on the cutting edge of experimental fiction. It is set on a mysterious, world-spanning structure known only as the Bridge, where everyone seems to live from nowhere to nowhere.

The protagonist, John Orr, is rescued from the sea with no memory or personality. All he knows is the Bridge, his persistent dreams of war, and his desire for Chief Engineer Arrol's provocative daughter, Abberlaine.

As Orr explores this extraordinary world, he experiences outrageous contrasts and elegant absurdities. By day, he navigates the Bridge; by night, he dreams of desperate men driving sealed carriages across barren mountains, illiterate barbarians storming enchanted towers, and broken men walking endlessly over bridges.

This novel is frequently hilarious and consistently disturbing, challenging the boundaries between reality and dreams, day and night.

Isserley picks up hitchhikers with big muscles. She, herself, is tiny—like a kid peering up over the steering wheel. She has a remarkable face and wears the thickest corrective lenses anyone has ever seen. Her posture suggests some spinal problem. Her breasts are perfect; perhaps implants. She is strangely erotic yet somehow grotesque, vulnerable yet threatening.

Her hitchhikers are a mixed bunch of men—trailer trash and traveling postgrads, thugs and philosophers. But Isserley is only interested in whether they have families and whether they have muscles. Then, it's only a question of how long she can endure her pain—physical and spiritual—and their conversation.

"Under the Skin" takes us on a heart-thumping ride through dangerous territory—our own moral instincts and the boundaries of compassion.

The Heart Is Deceitful Above All Things is a compelling collection of interconnected stories that explore the tumultuous life of a young boy named Jeremiah, who is on the run with his teenage mother, Sarah. When Sarah reclaims Jeremiah from his foster parents, he is thrust into a world of motels, truck stops, and the abusive, exploitative men Sarah encounters.

As Jeremiah navigates this harsh environment, he learns to survive and finds a way to love his mother, even as she spirals into drug-induced madness. The stories are told in spare, lyrical prose, rich with imagination and dark humor, transforming the savagery of Jeremiah's world into an unforgettable experience of compassion.

This special edition includes an additional seven stories, previously uncollected, by JT LeRoy, the literary persona of Laura Albert.

Victor Mancini, a medical-school dropout, is an antihero for our deranged times. Needing to pay elder care for his mother, Victor has devised an ingenious scam: he pretends to choke on pieces of food while dining in upscale restaurants. He then allows himself to be “saved” by fellow patrons who, feeling responsible for Victor’s life, go on to send checks to support him. When he’s not pulling this stunt, Victor cruises sexual addiction recovery workshops for action, visits his addled mom, and spends his days working at a colonial theme park. His creator, Chuck Palahniuk, is the visionary we need and the satirist we deserve.

London, 1936. Gordon Comstock has declared war on the money god; and Gordon is losing the war. Nearly 30 and "rather moth-eaten already," a poet whose one small book of verse has fallen "flatter than any pancake," Gordon has given up a "good" job and gone to work in a bookshop at half his former salary. Always broke, but too proud to accept charity, he rarely sees his few friends and cannot get the virginal Rosemary to bed because (or so he believes), "If you have no money ... women won't love you."

On the windowsill of Gordon's shabby rooming-house room is a sickly but unkillable aspidistra—a plant he abhors as the banner of the sort of "mingy, lower-middle-class decency" he is fleeing in his downward flight.

In Keep the Aspidistra Flying, George Orwell has created a darkly compassionate satire to which anyone who has ever been oppressed by the lack of brass, or by the need to make it, will all too easily relate. He etches the ugly insanity of what Gordon calls "the money-world" in unflinching detail, but the satire has a second edge, too, and Gordon himself is scarcely heroic. In the course of his misadventures, we become grindingly aware that his radical solution to the problem of the money-world is no solution at all—that in his desperate reaction against a monstrous system, he has become something of a monster himself. Orwell keeps both of his edges sharp to the very end—a "happy" ending that poses tough questions about just how happy it really is.

That the book itself is not sour, but constantly fresh and frequently funny, is the result of Orwell's steady, unsentimental attention to the telling detail; his dry, quiet humor; his fascination with both the follies and the excellences of his characters; and his courageous refusal to embrace the comforts of any easy answer.

Tommy Phan, a successful detective novelist, comes home one evening to find a small rag doll on his doorstep. That night, with the popping of two stitches, something terrifying will emerge to tear apart the fabric of Tommy's reality—and his life.

Brief Interviews with Hideous Men is a thought-provoking and playful short story collection by David Foster Wallace, where he nudges at the boundaries of fiction with inimitable wit and seductive intelligence. Wallace's stories present a world where the bizarre and the banal are interwoven and where hideous men appear in many guises.

Among the stories are 'The Depressed Person', a dazzling and blackly humorous portrayal of a woman's mental state; 'Adult World', which reveals a woman's agonized consideration of her confusing sexual relationship with her husband; and 'Brief Interviews with Hideous Men', a dark, hilarious series of imagined interviews with men on the subject of their relations with women.

Wallace delights in leftfield observation, mining the absurd, the surprising, and the illuminating from every situation. This collection will enthrall DFW fans and provides a perfect introduction for new readers.

The author of American Psycho and Less Than Zero continues to shock and haunt us with his incisive and brilliant dissection of the modern world. In his most ambitious and gripping book yet, Bret Easton Ellis takes our celebrity obsessed culture and increases the volume exponentially. Set in 90s Manhattan, Victor Ward, a model with perfect abs and all the right friends, is seen and photographed everywhere, even in places he hasn't been and with people he doesn't know. He's living with one beautiful model and having an affair with another on the eve of opening the trendiest nightclub in New York City history.

And now it's time to move to the next stage. But the future he gets is not the one he had in mind. With the same deft satire and savage wit he has brought to his other fiction, Bret Ellis gets beyond the facade and introduces us, unsparingly, to what we always feared was behind it. Glamorama shows us a shadowy looking-glass reality, the juncture where fame and fashion and terror and mayhem meet and then begin to resemble the familiar surface of our lives.

Dear Reader,

If you have not read anything about the Baudelaire orphans, then before you read even one more sentence, you should know this: Violet, Klaus, and Sunny are kindhearted and quick-witted; but their lives, I am sorry to say, are filled with bad luck and misery. All of the stories about these three children are unhappy and wretched, and this one may be the worst of them all. If you haven't got the stomach for a story that includes a hurricane, a signalling device, hungry leeches, cold cucumber soup, a horrible villain, and a doll named Pretty Penny, then this book will probably fill you with despair.

I will continue to record these tragic tales, for that is what I do. You, however, should decide for yourself whether you can possibly endure this miserable story.

With all due respect,

Lemony Snicket

Laughable Loves is a collection of stories that first appeared in print in Prague before 1968, but was then subsequently banned. The seven stories are all concerned with love, or rather with the complex erotic games and stratagems employed by women and especially men as they try to come to terms with needs and impulses that can start a terrifying train of events.

Sexual attraction is shown as a game that often turns sour, an experience that brings with it painful insights and releases uncertainty, panic, vanity, and a constant need for reassurance. Thus, a young couple on holiday starts a game of pretence that threatens to destroy their relationship; two middle-aged men go in search of girls they don't really want; a young man renews contact with an older woman who feels humiliated by her ageing body; an elderly doctor uses his beautiful wife to increase his attraction and minister to his sexual vanity.

In Laughable Loves, Milan Kundera shows himself, once again, as a master of fiction's most graceful illusions and surprises.

Birds of America is a long-awaited collection of twelve stories by the acclaimed author Lorrie Moore. Known for her characteristic wit and piercing intelligence, Moore unfolds a series of portraits of the lost and unsettled of America, infused with a trademark humor that fuels each story with pathos and understanding.

From the opening story, "Willing", about a second-rate movie actress in her thirties who has moved back to Chicago, where she makes a seedy motel room her home and becomes involved with a mechanic who has no idea of who she is as a human being, Birds of America unfolds a startlingly brilliant series of portraits of the unhinged, the lost, the unsettled of our America.

In the story "Which Is More Than I Can Say About Some People", a woman newly separated from her husband embarks on a long-planned trip through Ireland with her mother. When they set out on an expedition to kiss the Blarney Stone, the image of wisdom and success that her mother has always put forth slips away to reveal the panicky woman she really is.

In "Charades", a family game at Christmas is transformed into a hilarious and insightful revelation of crumbling family ties. Meanwhile, "Community Life" depicts a shy, almost reclusive librarian, Transylvania-born and Vermont-bred, who moves in with her boyfriend, the local anarchist in a small university town, and all hell breaks loose.

In "Four Calling Birds, Three French Hens", a woman who goes through the stages of grief as she mourns the death of her cat (Anger, Denial, Bargaining, Häagen Dazs, Rage) is seen by her friends as really mourning other issues: the impending death of her parents, the son she never had, Bosnia.

In what may be her most stunning book yet, Lorrie Moore explores the personal and the universal, the idiosyncratic and the mundane, with all the wit, brio, and verve that have made her one of the best storytellers of our time.

Frank, no ordinary sixteen-year-old, lives with his father outside a remote Scottish village. Their life is, to say the least, unconventional. Frank's mother abandoned them years ago: his elder brother Eric is confined to a psychiatric hospital; and his father measures out his eccentricities on an imperial scale. Frank has turned to strange acts of violence to vent his frustrations. In the bizarre daily rituals there is some solace. But when news comes of Eric's escape from the hospital Frank has to prepare the ground for his brother's inevitable return - an event that explodes the mysteries of the past and changes Frank utterly.

The Wasp Factory is a work of horrifying compulsion: horrifying, because it enters a mind whose realities are not our own, whose values of life and death are alien to our society; compulsive, because the humour and compassion of that mind reach out to us all. A novel of extraordinary originality, imagination and comic ferocity.

With the Christmas season upon him, Detective Sergeant Bruce Robertson of Edinburgh's finest is gearing up socially—kicking things off with a week of sex and drugs in Amsterdam. There are some sizable flies in the ointment, though: a missing wife and child, a nagging cocaine habit, some painful below-the-belt eczema, and a string of demanding extramarital affairs. The last thing Robertson needs is a messy, racially fraught murder, even if it means overtime—and the opportunity to clinch the promotion he craves. Then there's that nutritionally demanding (and psychologically acute) intestinal parasite in his gut. Yes, things are going badly for this utterly corrupt tribune of the law, but in an Irvine Welsh novel nothing is ever so bad that it can't get a whole lot worse...

Set at a small affluent liberal-arts college in New England eighties, The Rules of Attraction is a startlingly funny, kaleidoscopic novel about three students with no plans for the future—or even the present—who become entangled in a curious romantic triangle. Bret Easton Ellis trains his incisive gaze on the kids at self-consciously bohemian Camden College and treats their sexual posturings and agonies with a mixture of acrid hilarity and compassion while exposing the moral vacuum at the center of their lives. The Rules of Attraction is a poignant, hilarious take on the death of romance.

On a snowy Saturday night in 1979, after making love for the first time, high school senior Karen Ann McNeil confides the dark visions she's been suffering to her boyfriend, Richard. Only a few hours later she descends into a coma. Nine months after that, she gives birth to a daughter, Megan, her child by Richard. Karen remains comatose for the next 18 years. Richard and her circle of friends reside in an emotional purgatory throughout the next two decades, passing through careers as models, film special-effects technicians, doctors, and demolition experts before finally being reunited while working on a conspiracy-driven supernatural series. Upon Karen's reawakening, life grows as surreal as the television show. Strange, apocalyptic events begin to occur. Later, amid the world's rubble, Karen, Richard, and their friends attempt to restore their own humanity.

In Making History, Stephen Fry tackles a rather meaty chunk by exploring an at first deceptively simple premise: What if Hitler had never been born?

An unquestionable improvement, one would reason—and so an earnest history grad student and an aging German physicist idealistically undertake to bring this about by preventing Adolf's conception.

And with their success is launched a brave new world that is in some ways better than ours—but in most ways even worse. Fry's experiment in history makes for his most ambitious novel yet, and his most affecting.

Set mostly in America, it is a thriller with a funny streak, a futuristic fantasy based on one of mankind's darkest realities. It is, in every sense, a story of our times.

From breathtaking stop-action animation to bittersweet modern fairy tales, filmmaker Tim Burton has become known for his unique visual brilliance – witty and macabre at once. Now he gives birth to a cast of gruesomely sympathetic children – misunderstood outcasts who struggle to find love and belonging in their cruel, cruel worlds.

His lovingly lurid illustrations evoke both the sweetness and the tragedy of these dark yet simple beings – hopeful, hapless heroes who appeal to the ugly outsider in all of us, and let us laugh at a world we have long left behind (mostly anyway).

The Floating Opera and The End Of The Road are John Barth's first two novels. Their relationship to each other is evident not only in their ribald subject matter but in the eccentric characters and bitterly humorous tone of the narratives. Both concern strange, consuming love triangles and the destructive effect of an overactive intellect on the emotions. Separately, they give two very different views of a universal human drama.

In The Floating Opera, the protagonist Todd Andrews, an orphaned war veteran, has been sleeping with his friend's wife. Todd awakens one morning determined to commit suicide, having concluded that nothing in life has intrinsic value—but then spends the day methodically reasoning his way into disregarding that fact and remaining a part of the floating opera of life.

In The End of the Road, a man named Jacob Horner finds himself literally paralyzed by an inability to choose a course of action from all possibilities. He begins an unconventional course of "mythotherapy" treatment at the Remobilization Farm, but his eccentric doctor's directives lead him into a tragic love triangle and from there to the nihilistic end of the road.

These novels form the beginnings of an illustrious literary career.

Tristram Foxe and his wife, Beatrice-Joanna, live in their skyscraper world where official family limitation glorifies homosexuality. Eventually, their world is transformed into a chaos of cannibalistic dining-clubs, fantastic fertility rituals, and wars without anger.

It is a novel both extravagantly funny and grimly serious.

Preacher, Volume 1: Gone to Texas is a modern American epic of life, death, love, and redemption packed with sex, booze, blood, and bullets - not to mention angels, demons, God, vampires, and deviants of all stripes.

At first glance, the Reverend Jesse Custer doesn't look like anyone special - just another small-town minister slowly losing his flock and his faith. But he's about to come face-to-face with proof that God does indeed exist.

Merging with a bizarre spiritual force called Genesis, Jesse now possesses the power of "the Word," an ability to make people do whatever he utters. He begins a violent and riotous journey across the country in search of answers from the elusive deity.

This volume collects issues #1-7 of the series.