A searing, postapocalyptic novel destined to become Cormac McCarthy’s masterpiece. A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don’t know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other. The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, “each the other’s world entire,” are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation.

The Bell Jar chronicles the crack-up of Esther Greenwood: brilliant, beautiful, enormously talented, and successful, but slowly going under—maybe for the last time. Sylvia Plath masterfully draws the reader into Esther's breakdown with such intensity that Esther's insanity becomes completely real and even rational, as probable and accessible an experience as going to the movies. Such deep penetration into the dark and harrowing corners of the psyche is an extraordinary accomplishment and has made The Bell Jar a haunting American classic.

In 1937 Ernest Hemingway traveled to Spain to cover the civil war there for the North American Newspaper Alliance. Three years later he completed the greatest novel to emerge from "the good fight," For Whom the Bell Tolls. The story of Robert Jordan, a young American in the International Brigades attached to an antifascist guerilla unit in the mountains of Spain, it tells of loyalty and courage, love and defeat, and the tragic death of an ideal. In his portrayal of Jordan's love for the beautiful Maria and his superb account of El Sordo's last stand, in his brilliant travesty of La Pasionaria and his unwillingness to believe in blind faith, Hemingway surpasses his achievement in The Sun Also Rises and A Farewell to Arms to create a work at once rare and beautiful, strong and brutal, compassionate, moving and wise. "If the function of a writer is to reveal reality," Maxwell Perkins wrote to Hemingway after reading the manuscript, "no one ever so completely performed it." Greater in power, broader in scope, and more intensely emotional than any of the author's previous works, it stands as one of the best war novels of all time.

First published in 1952 and immediately hailed as a masterpiece, Invisible Man is one of those rare novels that have changed the shape of American literature. For not only does Ralph Ellison's nightmare journey across the racial divide tell unparalleled truths about the nature of bigotry and its effects on the minds of both victims and perpetrators, it gives us an entirely new model of what a novel can be. As he journeys from the Deep South to the streets and basements of Harlem, from a horrifying "battle royal" where black men are reduced to fighting animals, to a Communist rally where they are elevated to the status of trophies, Ralph Ellison's nameless protagonist ushers readers into a parallel universe that throws our own into harsh and even hilarious relief. Suspenseful and sardonic, narrated in a voice that takes in the symphonic range of the American language, black and white, Invisible Man is one of the most audacious and dazzling novels of our century.

Fair and long-legged, independent and articulate, Janie Crawford sets out to be her own person—no mean feat for a black woman in the '30s. Janie's quest for identity takes her through three marriages and into a journey back to her roots.

FROM HAN KANG, WINNER OF THE 2024 NOBEL PRIZE IN LITERATURE “[Han Kang writes in] intense poetic prose that confronts historical traumas and exposes the fragility of human life.”—from the Nobel Prize citation “Unforgettable . . . a disquietingly beautiful novel about the impossibility of waking up from the nightmare of history.”—Hernan Diaz Han Kang’s most revelatory book since The Vegetarian, We Do Not Part tells the story of a friendship between two women while powerfully reckoning with a hidden chapter of Korean history. One winter morning, Kyungha receives an urgent message from her friend Inseon to visit her at a hospital in Seoul. Inseon has injured herself in an accident, and she begs Kyungha to return to Jeju Island, where she lives, to save her beloved pet—a white bird called Ama. A snowstorm hits the island when Kyungha arrives. She must reach Inseon’s house at all costs, but the icy wind and squalls slow her down as night begins to fall. She wonders if she will arrive in time to save the animal—or even survive the terrible cold that envelops her with every step. Lost in a world of snow, she doesn't yet suspect the vertiginous plunge into the darkness that awaits her at her friend's house. Blurring the boundaries between dream and reality, We Do Not Part powerfully illuminates a forgotten chapter in Korean history, buried for decades—bringing to light the lost voices of the past to save them from oblivion. Both a hymn to an enduring friendship and an argument for remembering, it is the story of profound love in the face of unspeakable violence—and a celebration of life, however fragile it might be.

Fuyuko Irie is a freelance copy editor in her mid-thirties. Working and living alone in a city where it is not easy to form new relationships, she has little regular contact with anyone other than her editor, Hijiri, a woman of the same age but with a very different disposition. When Fuyuko stops one day on a Tokyo street and notices her reflection in a storefront window, what she sees is a drab, awkward, and spiritless woman who has lacked the strength to change her life and decides to do something about it. As the long overdue change occurs, however, painful episodes from Fuyuko’s past surface and her behavior slips further and further beyond the pale. All the Lovers in the Night is acute and insightful, entertaining and engaging; it will make readers laugh, and it will make them cry, but it will also remind them, as only the best books do, that sometimes the pain is worth it.

'Is M John Harrison the best writer at work today? He's certainly among the deftest and most original, producing immaculately odd sentences in any genre he chooses' Olivia Laing, Summer Pick of 2023, Guardian ' Wish I Was Here by M John Harrison is a revival of the writer's memoir ... slippery and fascinating as any of his fiction' Jonathan Coe, Summer Pick of 2023, Guardian M. John Harrison has produced one of the greatest bodies of fiction of any living British author, encompassing space opera, speculative fiction, fantasy, magical and literary realism. But is there even an M. John Harrison and where do we find him? This is the question the author asks in this memoir-as-mystery, turning for clues to forty years of 'A note or it never happened. A note or you never looked.' Are these notebooks, or 'nowtbooks', records of failed presence? How do they shine light on a childhood in the industrial Midlands, a portrait of the young artist in countercultural London, on an adulthood of restless escape into hill and moorland landscapes? And do they tell us anything about the writing of the books, each one so different from the last that it might have been written by another version of the author? With aphoristic daring and laconic wit, this anti-memoir will fascinate you and delight you. It confirms M. John Harrison still further in his status as the most original British writer of his generation.

Written over the course of four decades, Francois-ReneÅL de Chateaubriand’s epic autobiography has drawn the admiration of Baudelaire, Flaubert, Proust, Roland Barthes, Paul Auster, and W. G. Sebald. In this unabridged section of the Memoirs, spanning the years 1768 to 1800, Chateaubriand looks back on the already bygone world of his youth. He recounts the history of his aristocratic family and the first rumblings of the French Revolution. He recalls playing games on the beaches of Saint-Malo, wandering in the woods near his father’s castle in Combourg, hunting with King Louis XVI at Versailles, witnessing the first heads carried on pikes through the streets of Paris, meeting with George Washington in Philadelphia, and falling hopelessly in love with a young woman named Charlotte in the small Suffolk town of Bungay. The volume ends with Chateaubriand’s return to France after eight years of exile in England. In this new edition (the first unabridged translation of any portion of the Memoirs to be published in more than a century), Chateaubriand emerges as a writer of great wit and clarity, a self-deprecating egoist whose meditations on the meaning of history, memory, and morality are leavened with a mixture of high whimsy and memorable gloom.

Fernando Pessoa was many writers in one. He attributed his prolific writings to a wide range of alternate selves, each of which had a distinct biography, ideology, and horoscope. When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner's words, "gives to Lisbon the haunting spell of Joyce's Dublin or Kafka's Prague." Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the "autobiography" of Bernardo Soares, one of Pessoa's alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, captivatingly translated by Richard Zenith, The Book of Disquiet is one of the greatest works of the twentieth century.

The publication of Clarice Lispector's Collected Stories, eighty-five in all, is a major literary event. Now, for the first time in English, are all the stories that made her a Brazilian legend: from teenagers coming into awareness of their sexual and artistic powers to humdrum housewives whose lives are shattered by unexpected epiphanies to old people who don't know what to do with themselves. Lispector's stories take us through their lives - and ours. From one of the greatest modern writers, these 85 stories, gathered from the nine collections published during her lifetime, follow Clarice Lispector throughout her life.

Lispector at her most philosophically radical. A meditation on the nature of life and time, Água Viva (1973) shows Lispector discovering a new means of writing about herself, more deeply transforming her individual experience into a universal poetry. In a body of work as emotionally powerful, formally innovative, and philosophically profound as Clarice Lispector’s, Água Viva stands out as a particular triumph.

When her cousin and wife fail to return from a walk, this story takes a sinister turn to a quest of survival A woman takes a holiday in the Austrian mountains, spending a few days with her cousin and his wife in their hunting lodge. When the couple fails to return from a walk, the woman sets off to look for them. But her journey reaches a sinister and inexplicable dead end. She discovers only a transparent wall behind which there seems to be no life. Trapped alone behind the mysterious wall she begins the arduous work of survival. This is at once a simple account of potatoes and beans, of hoping for a calf, of counting matches, of forgetting the taste of sugar and the use of one's name, and simultaneously a disturbing dissection of the place of human beings in the natural world. **PERFECT FOR FANS OF THE YELLOW WALLPAPER, STATION ELEVEN AND THE MARTIAN VINTAGE EARTH is a collection of novels to transform our relationship with the natural world. Each one is a work of creative activism, a blast of fresh air, a seed from which change can grow. The books in this series reconnect us to the planet we inhabit - and must protect. Discover great writing on the most urgent story of our times.

‘For a very long time, the days went by, each just like the day before, then I began to think, and everything changed’ Deep underground, thirty-nine women live imprisoned in a cage. Watched over by guards, the women have no memory of how they got there, no notion of time, and only vague recollection of their lives before. As the burn of electric light merges day into night and numberless years pass, a young girl - the fortieth prisoner - sits alone and outcast in the corner. Soon she will show herself to be the key to the others' escape and survival in the strange world that awaits them above ground.

Piranesi’s house is no ordinary building: its rooms are infinite, its corridors endless, its walls are lined with thousands upon thousands of statues, each one different from all the others. Within the labyrinth of halls an ocean is imprisoned; waves thunder up staircases, rooms are flooded in an instant. But Piranesi is not afraid; he understands the tides as he understands the pattern of the labyrinth itself. He lives to explore the house. There is one other person in the house—a man called The Other, who visits Piranesi twice a week and asks for help with research into A Great and Secret Knowledge. But as Piranesi explores, evidence emerges of another person, and a terrible truth begins to unravel, revealing a world beyond the one Piranesi has always known.