On the streets of 1970s Brooklyn, a daily ritual goes down: the dance. Money is exchanged, belongings surrendered, power asserted. The promise of violence lies everywhere, a currency itself. For these children, Black, brown, and white, the street is a stage in shadow; some days it may seem that no one knows what happens there. Yet in the wings hide the other players: parents; cops; renovators; landlords; those who write the headlines, the histories, and laws; those who award this neighbourhood its name. The rules seem obvious at first. But in memory's prism, criminals and victims may seem to trade places. The voices of the past may seem to rise and gather as if in harmony, then make war with one another. A street may seem to crack open and reveal what lies behind its glimmering facade. None who lived through it are ever permitted to forget. Written with kaleidoscopic verve and delirious wit, Brooklyn Crime Novel is a breathtaking tour de force by a writer at the top of his powers. Jonathan Lethem, "one of America's greatest storytellers," (Washington Post) has crafted an epic interrogation of how we fashion stories to contain the uncontainable: our remorse at the world we've made.

'A nimble and uncanny performance, brimming with Lethem's trademark verve and wit' Colson Whitehead, Pulitzer Prize-winning author of The Underground Railroad Phoebe Siegler first meets Charles Heist in a shabby trailer on the eastern edge of Los Angeles. She's looking for her friend's missing daughter, Arabella, and hires Heist - a laconic loner who keeps his pet opossum in a desk drawer - to help. The unlikely pair navigate the enclaves of desert-dwelling vagabonds and find that Arabella is in serious trouble - caught in the middle of a violent standoff that only Heist, mysteriously, can end. Phoebe's trip to the desert was always going to be strange, but it was never supposed to be dangerous... Jonathan Lethem's first detective novel since Motherless Brooklyn, The Feral Detective is a singular achievement by one of our greatest writers.

The Arrest isn't post-apocalypse. It isn't a dystopia. It isn't a utopia. It's just what happens when much of what we take for granted - cars, guns, computers, and airplanes, for starters - stops working... Before the Arrest, Sandy Duplessis had a reasonably good life as a screenwriter in L.A. An old college friend and writing partner, the charismatic and malicious Peter Todbaum, had become one of the most powerful men in Hollywood. That didn't hurt. Now, post-Arrest, nothing is what it was. Sandy, who calls himself Journeyman, has landed in rural Maine. There he assists the butcher and delivers the food grown by his sister, Maddy, at her organic farm. But then Todbaum shows up in an extraordinary vehicle: a retrofitted tunnel-digger powered by a nuclear reactor. Todbaum has spent the Arrest smashing his way across a fragmented and phantasmagorical United States, trailing enmities all the way. Plopping back into the siblings' life with his usual odious panache, his motives are entirely unclear. Can it be that Todbaum wants to produce one more extravaganza? Whatever he's up to, it may fall to Journeyman to stop him. Written with unrepentant joy and shot through with just the right amount of contemporary dread, The Arrest is speculative fiction at its absolute finest.

On the streets of 1970s Brooklyn, a daily ritual goes down: the dance. Money is exchanged, belongings surrendered, power asserted. The promise of violence lies everywhere, a currency itself. For these children, Black, brown, and white, the street is a stage in shadow; some days it may seem that no one knows what happens there. Yet in the wings hide the other players: parents; cops; renovators; landlords; those who write the headlines, the histories, and laws; those who award this neighbourhood its name. The rules seem obvious at first. But in memory's prism, criminals and victims may seem to trade places. The voices of the past may seem to rise and gather as if in harmony, then make war with one another. A street may seem to crack open and reveal what lies behind its glimmering facade. None who lived through it are ever permitted to forget. Written with kaleidoscopic verve and delirious wit, Brooklyn Crime Novel is a breathtaking tour de force by a writer at the top of his powers. Jonathan Lethem, "one of America's greatest storytellers," (Washington Post) has crafted an epic interrogation of how we fashion stories to contain the uncontainable: our remorse at the world we've made.

Taking readers deep into a labyrinth of dark neurosis, "We Have Always Lived in the Castle" is a deliciously unsettling novel about a perverse, isolated, and possibly murderous family and the struggle that ensues when a cousin arrives at their estate. This edition features a new introduction by Jonathan Lethem.

Set in the 1950's, this epic, Warholian novel presents a brilliant and wholly original take on the years leading up to the Kennedy assassination. Where were you when you first heard President Kennedy had been shot? This is a question most people can answer, even if the answer is I wasn't born yet. In this epic novel, David Bowman makes the strong case that the shooting on November 22nd, 1963 was the major, defining turning point that catapulted the world into an entirely new stratosphere. It was the second big bang. In this hilarious, lightning-fast historical novel, Bowman follows the most famous couples of the decade as their lives are torn apart by post-war's new normal. We see Lucille Ball's bizarre interrogation by the House UnAmerican Activities Committee and Jackie Onassis' moonlight cruise with Frank Sinatra . We follow Norman Mailer and Arthur Miller as they attempt to get quickie divorces together at a loophole resort in Nevada and watch a young Howard Hunt snoop around South America with the newly founded CIA. A young Jimi Hendrix, now the epitome of counterculture cool, tries his luck as a clean cut army recruit. Written with an almost documentary film like intensity, BIG BANG is a posthumous work from the award-winning author of Let the Dog Drive. A riotous account of a country, perhaps, at the beginning of the end.

From the prize-winning author of Motherless Brooklyn, a daring, riotous, sweeping novel that spins the tale of two friends and their adventures in late 20th-century America. This is the story of two boys, Dylan Ebdus and Mingus Rude. They live in Brooklyn and are friends and neighbours; but since Dylan is white and Mingus is black, their friendship is not simple. This is the story of 1970s America, a time when the simplest decisions - what music you listen to, whether to speak to the kid in the seat next to you, whether to give up your lunch money - are laden with potential political, social and racial disaster. This is also the story of 1990s America, when nobody cared anymore. This is the story of what would happen if two teenaged boys obsessed with comic book heroes actually had superpowers: they would screw up their lives.

An uninvited guest, entering the empty New York apartment of a man known to intimates as "Dom," proceeds to write for his absent host a curious confession. Its close accounts of friendship since boyhood with two men surely unknown to Dom and certainly to each other is interleaved with the story of Dom himself.

"Ancient History" is one of the only novels by Joseph McElroy to not have been re-issued in paperback, coming out alongside his new novel after a year-long re-introduction of his work to readers via eBooks.

This Library of America volume brings together four of Dick's most original, mesmerizing, and surprising novels: "The Man in the High Castle, The Three Stigmata of Palmer Eldritch, Do Androids Dream of Electric Sheep?," and "Ubik."

For the first time in book form-a great writer's classic celebration of the essence of Brooklyn. In 1939, James Agee was assigned to write an article on Brooklyn for a special issue of Fortune on New York City. The draft was rejected for "creative differences," and remained unpublished until it appeared in Esquire in 1968 under the title "Southeast of the Island: Travel Notes." Crossing the borough from the brownstone heights over the Brooklyn Bridge out through backstreet neighborhoods like Flatbush, Midwood, and Sheepshead Bay that roll silently to the sea, Agee captured in 10,000 remarkable words, the essence of a place and its people. Propulsive, lyrical, jazzy, and tender, its pitch-perfect descriptions endure even as Brooklyn changes; Agee's essay is a New York classic. Resonant with the rhythms of Hart Crane, Walt Whitman, and Thomas Wolfe, it takes its place alongside Alfred Kazin's A Walker in the City as a great writer's love-song to Brooklyn and alongside E. B. White's Here Is New York as an essential statement of the place so many call home. James Agee was born in Knoxville, Tennessee, in 1909. One of the great prose stylists of the past century, Agee wrote in many forms-poetry, short stories, novels, essays, commentary, and criticism. In 1958 he won the Pulitzer Prize for fiction for A Death in the Family, and he also wrote the classic account of poor Southern farmers, Let Us Now Praise Famous Men, accompanied by Walker Evans's documentary photographs. With John Huston, he wrote the Oscar-nominated screenplay for The African Queen, and he was an influential film and theater critic for Time and The Nation. James Agee died in 1955 of a heart attack in a New York City taxicab. In the fall of 2005, the Library of America will publish a two-volume collection of his writings. Jonathan Lethem's novels include Fortress of Solitude and Motherless Brooklyn, which won the National Book Critics Circle Award, his most recent book is The Disappointment Artist. Lethem was born and raised in Brooklyn, where he still lives.

One the irrepressibly inventive Jonathan Lethem could weld science fiction and the Western into a mesmerizing novel of exploration and otherness, sexual awakening and loss. At the age of 13 Pella Marsh loses her mother and her home on the scorched husk that is planet Earth. Her sorrowing family emigrates to the Planet of the Archbuilders, whose mysterious inhabitants have names like Lonely Dumptruck and Hiding Kneel"--"and a civilization that and frightens their human visitors.

On this new world, spikily independent Pella becomes as uneasy envoy between two species. And at the same time is unwilling drawn to a violent loner who embodies all the paranoid machismo of the frontier ethic. Combining the tragic grandeur of John Ford's "The Searchers "and the sexual tension of "Lolita" and transporting them to a planet light years, "Girl in Landscape" is a tour de force.

From America's most inventive novelist, Jonathan Lethem, comes this compelling and compulsive riff on the classic detective novel.

Lionel Essrog is Brooklyn's very own self-appointed Human Freakshow, an orphan whose Tourettic impulses drive him to bark, count, and rip apart our language in startling and original ways.  Together with three veterans of the St. Vincent's Home for Boys, he works for small-time mobster Frank Minna's limo service cum detective agency. Life without Frank Minna, the charismatic King of Brooklyn, would be unimaginable, so who cares if the tasks he sets them are, well, not exactly legal. But when Frank is fatally stabbed, one of Lionel's colleagues lands in jail, the other two vie for his position, and the victim's widow skips town. Lionel's world is suddenly topsy-turvy, and this outcast who has trouble even conversing attempts to untangle the threads of the case while trying to keep the words straight in his head.  Motherless Brooklyn is a brilliantly original homage to the classic detective novel by one of the most acclaimed writers of his generation.

It's the summer of 1979. A fifteen-year-old boy listens to WNEW on the radio in his bedroom in Brooklyn. A monotone voice (it's the singer's) announces into dead air in between songs "The Talking Heads have a new album, it's called "Fear of Music""; - and everything spins outward from that one moment.
Jonathan Lethem treats "Fear of Music"; (the third album by the Talking Heads, and the first produced by Brian Eno) as a masterpiece - edgy, paranoid, funky, addictive, rhythmic, repetitive, spooky and fun. He scratches obsessively at the album's songs, guitars, rhythms, lyrics, packaging, downtown origins, and legacy, showing how "Fear of Music" hints at the directions (positive and negative) the band would take in the future. Lethem transports us again to the New York City of another time - tackling one of his great adolescent obsessions and illuminating the ways in which we fall in and out of love with works of art.

Following in the footsteps of the late great Lester Bangs -- the most revered and irreverent of rock 'n' roll critics -- twenty-four celebrated writers have penned stories inspired by great songs. Just as Bangs cast new light on a Rod Stewart classic with his story "Maggie May," about a wholly unexpected connection between an impressionable young man and an aging, alcoholic hooker, the diverse, electrifying stories here use songs as a springboard for a form dubbed the lit riff.

Alongside Bangs's classic work, you'll find stories by J.T. LeRoy, who puts a recovering teenage drug abuser in a dentist's chair with nothing but the Foo Fighters's "Everlong" -- blaring through the P.A. -- to fight the pain; Jonathan Lethem, whose narrator looks back on his lost innocence just as an extramarital affair careens to an end -- this to the tune "Speeding Motorcycle" as recorded by Yo La Tengo; and Jennifer Belle, who envisions a prequel to Paul Simon's "Graceland" -- one that takes place at a children's birthday party replete with a real live kangaroo.

With original contributions from Tom Perrotta, Nelson George, Amanda Davis, Lisa Tucker, Aimee Bender, Darin Strauss, and many more -- riffing on everyone from Tom Waits and Bruce Springsteen to the White Stripes, Cat Power, and Bob Marley -- this is both an astounding collection of short stories and an extraordinary experiment in words and music.

Soundtrack available from Saturation Acres Music & Recording Co.

The Fortress of Solitude is the story of Dylan Ebdus growing up white and motherless in downtown Brooklyn in the 1970s. It's a neighborhood where the entertainments include muggings along with games of stoopball. In that world, Dylan has one friend, a black teenager, also motherless, named Mingus Rude. As Lethem follows the knitting and unraveling of their friendship, he creates an overwhelmingly rich and emotionally gripping canvas of race and class, superheros, gentrification, funk, hip-hop, graffiti tagging, loyalty, and memory. The Fortress of Solitude" "is the first great urban coming of age novel to appear in years.

Jonathan Lethem, editor "The most outre science fiction writer of the 20th century has finally entered the canon," exclaimed Wired Magazine upon The Library of America's May 2007 publication of Philip K. Dick: Four Novels of the 1960s, edited by Jonathan Lethem. Now comes a companion volume collecting five novels that offer a breathtaking overview of the range of this science-fiction master. Philip K. Dick (1928-82) was a writer of incandescent imagination who made and unmade world-systems with ferocious rapidity and unbridled speculative daring. "The floor joists of the universe," he once wrote, "are visible in my novels." Martian Time-Slip (1964) unfolds on a parched and thinly colonized Red Planet where schizophrenia is a contagion and the unscrupulous seek to profit from a troubled child's time-fracturing visions. Dr. Bloodmoney, or How We Got Along After the Bomb (1965) chronicles the deeply-interwoven stories of a multi-racial community of survivors, including the scientist who may have been responsible for World War III. Famous, among other reasons, for a therapy session involving a talking taxicab, Now Wait for Last Year (1966) explores the effects of JJ-180, a hallucinogen that alters not only perception, but reality. In Flow My Tears, the Policeman Said (1974), a television star seeks to unravel a mystery that has left him stripped of his identity. A Scanner Darkly (1977), the basis for the 2006 film, envisions a drug-addled world in which a narcotics officer's tenuous hold on sanity is strained by his new surveillance assignment: himself. Mixing metaphysics and madness, phantasmagoric visions of a post-nuclear world and invading extraterrestrial authoritarians, and all-too-real evocations of the drugged-out America of the 70s, Dick's work remains exhilarating and unsettling in equal measure. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation's literary heritage by publishing, and keeping permanently in print, America's best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

SOON TO BE A MAJOR MOTION PICTURE, MOTHERLESS BROOKLYN IS RELEASED IN CINEMAS NOVEMBER 2019 Lionel Essrog, a.k.a. the Human Freakshow, is a victim of Tourette's syndrome (an uncontrollable urge to shout out nonsense, touch every surface in reach, rearrange objects). Local tough guy Frank Minna hires the adolescent Lionel and three other orphans from St Vincent's Home for Boys and grooms them to become the Minna Men, a fly-by-night detective-agency-cum-limoservice. Then one terrible day Frank is murdered, and Lionel must become a real detective. With crackling dialogue, a dazzling evocation of place, and a plot which mimics Tourette's itself in its freshness and capacity to shock, Motherless Brooklyn is a bravura performance: funny, tense, touching, and extravagant.

In 2007, "Philip K. Dick: Four Novels of the 1960s" became the fastest selling title in The Library of America's history. The 2008 companion volume, "Five Novels of the1960s & 70s," broke series records for advance sales. Now comes a third and final volume gathering the best novels of Dick's final years, when religious revelation, always important in his work, became a dominant and irresistible theme.
In "A Maze of Death" (1970), a darkly speculative mystery that foreshadows Dick's final novels, colonists on the planet Delmak-O try to determine the nature of the God-or "Mentufacturer"-who plots their destiny. The late masterpiece "VALIS" (1981) is a novelistic reworking of "the events of 2-3-74," when Dick's life was transformed by what he believed was a mystical revelation. It is a harrowing self-portrait of a man torn between conflicting interpretations of what might be gnostic illumination or psychotic breakdown. "The Divine Invasion" (1981), a sequel to "VALIS," is a powerful exploration of gnostic insight and its human consequences. "The Transmigration of Timothy Archer" (1982), Dick's last novel, is by turns theological thriller, roman a clef, and disenchanted portrait of late 1970s California life, based loosely on the controversial career of Bishop James Pike-a close friend and kindred spirit.

G. K. Chesterton's surreal masterpiece is a psychological thriller that centers on seven anarchists in turn-of-the-century London who call themselves by the names of the days of the week. Chesterton explores the meanings of their disguised identities in what is a fascinating mystery and, ultimately, a spellbinding allegory. As Jonathan Lethem remarks in his Introduction, The real characters are the ideas. Chesterton's nutty agenda is really quite simple: to expose moral relativism and parlor nihilism for the devils he believes them to be. This wouldn't be interesting at all, though, if he didn't also show such passion for giving the devil his due. He animates the forces of chaos and anarchy with every ounce of imaginative verve and rhetorical force in his body.

From the bestselling and award-winning author of The Fortress of Solitude and Motherless Brooklyn comes a sweeping story of community, crime, and gentrification, tracing more than fifty years of life in one Brooklyn neighborhood. "A blistering book. A love story. Social commentary. History. Protest novel. And mystery joins the whole together: is the crime 'time'? Or the almighty dollar? I got a great laugh from it too. Every city deserves a book like this." -- Colum McCann, author of Apeirogon and Let the Great World Spin On the streets of 1970s Brooklyn, a daily ritual goes down: the dance. Money is exchanged, belongings surrendered, power asserted. The promise of violence lies everywhere, a currency itself. For these children, Black, brown, and white, the street is a stage in shadow. And in the wings hide the other players: parents; cops; renovators; landlords; those who write the headlines, the histories, and the laws; those who award this neighborhood its name. The rules appear obvious at first. But in memory's prism, criminals and victims may seem to trade places. The voices of the past may seem to rise and gather as if in harmony, then make war with one another. A street may seem to crack open and reveal what lies behind its glimmering facade. None who lived through it are ever permitted to forget. Written with kaleidoscopic verve and delirious wit, Brooklyn Crime Novel is a breathtaking tour de force by a writer at the top of his powers. Jonathan Lethem, "one of America's greatest storytellers" (Washington Post), has crafted an epic interrogation of how we fashion stories to contain the uncontainable: our remorse at the world we've made.