Thirty years in the making, William Gass's second novel first appeared on the literary scene in 1995, at which time it was promptly hailed as an indisputable masterpiece. The story of a middle aged professor who, upon completion of his massive historical study, Guilt and Innocence in Hitler's Germany, finds himself writing a novel about his own life instead of the introduction to his magnum opus. The Tunnel meditates on history, hatred, unhappiness, and, above all, language.

Now available as a New Directions paperbook, Love and Terror, William Herrick’s second novel with ND, both reflects and anticipates today’s headlines. Terrorist kidnappings, hijackings, and dramatic rescues all form a part of the plot, but Herrick’s interest lies less in tension-filled heroics than in the human cost of flawed idealism. Through the notebook of the principal terrorist, Viktor X, the complex characters of Viktor and Gabriele, for whom love and terrorism are intertwined and inseparable, are revealed. And in a series of interviews with a nameless reporter, the lives of three disillusioned revolutionaries––”the old ones,” now hostages to a new brand of revolution––gradually and movingly unfold. In his earlier Shadows and Wolves (New Directions, 1980), Herrick showed us the possibility of human solutions that transcend politics. In Love and Terror he shows us why any ideology, inflexibly adhered to, makes such solutions necessary.

Mesmerizing sci-fi from the author the Denver Post calls "one of the literary giants of science fiction." The melancholy memoir of Alden Dennis Weer, an embittered old man living in a small midwestern town, reveals a miraculous dimension. For Weer's imagination has the power to obliterate time and reshape reality, transcending even death itself.

The Fan Man is a comic novel published in 1974 by the American writer William Kotzwinkle. It is told in the first-person by the narrator, Horse Badorties, a down-at-the-heels hippie living a life of drug-fueled befuddlement in New York City c. 1970. The book is written in a colorful, vernacular "hippie-speak" and tells the story of the main character's hapless attempts to put together a benefit concert featuring his own hand-picked choir of 15-year-old girls. Horse is a somewhat tragic, though historically humorous, character with echoes of other famous characters in popular culture such as Reverend Jim Ignatowski of Taxi fame. In his inability to follow anything through to completion he displays symptoms of attention-deficit disorder though this could equally be drug-induced. His defining characteristic is his joy in renting or commandeering apartments which he fills with street-scavenged junk articles until full to bursting he moves on to his next "pad". The name "fan man" is a reference to another of his traits; the collecting of fans of all shapes and sizes.

In the swinging culture of sixties’ London, Canadian Mortimer Griffin is a beleaguered editor adrift in a sea of hypocrisy and deceit. Alone in a world where nobody shares his values but everyone wants the same things, Mortimer must navigate the currents of these changing times. Richler’s eccentric cast of characters include the gorgeous Polly, who conducts her life as though it were a movie, complete with censor-type cuts at all the climactic moments; Rachel Coleman, slinky Black Panther of the boudoir; Star Maker, the narcissistic Hollywood tycoon who has discovered the secret of eternal life; and a precocious group of school children with a taste for the teachings of the Marquis de Sade. Cocksure is a savagely funny satire on television, movies, and the entertainment industry. This is Mordecai Richler at his most caustic and wicked best.

The book Jonathan Franzen dubbed the "ur-text of postwar fiction" and the "first great cultural critique, which, even if Heller and Pynchon hadn't read it while composing Catch-22 and V., managed to anticipate the spirit of both”—The Recognitions is a masterwork about art and forgery, and the increasingly thin line between the counterfeit and the fake. Gaddis anticipates by almost half a century the crisis of reality that we currently face, where the real and the virtual are combining in alarming ways, and the sources of legitimacy and power are often obscure to us.