As hilarious as it is heartbreaking, Liebestod returns us to Leslie Epstein's most compelling literary character, that European emigre and meagerly successful musician, Leib Goldkorn, whose final years as a randy centenarian in New York City end in one of the most memorable swan songs in recent fiction. Invited back to his hometown in Moravia, Leib discovers that his father is not a hops magnate but actually one of the twentieth century's greatest composers, Gustav Mahler. Returning to New York with a bevy of rabbinical cousins, Leib, now besotted by a world-famed diva, is determined to bring to the Metropolitan Opera Rubezahl, the only opera his real father ever wrote. Yet the much-heralded premiere turns into a fiasco of unimaginable proportions, all breathtakingly relayed by a stunned newspaper correspondent who survives to report on this monumental disaster. With Liebestod, Epstein once again "illuminates the mystery of our common humanity and mortality" (New York Times).

"One of the four best Hollywood novels ever written."--Elizabeth Frank, "The New York Times Book Review"
Leslie Epstein's best-selling novel is composed of five interrelated episodes, each elaborated from a germ of childhood experience by the mature imagination of a distinguished writer of fiction. Richard Jacobi, the narrator of these reflections, invites us to revisit the crucial experiences of his youth: driving to Malibu to meet the man determined to marry his mother; on vacation in the Mohave, while his father, the famed Hollywood figure Norman Jacobi, and Lotte, his mother, must deal with the terrible consequences of Norman's testimony before the House Committee on Un-American Activities; exploring how a night in a bar and brothel in Tijuana becomes linked to the spiritual growth of his brother, Bartie; viewing a precarious initiation into sexuality that will mark forever the way an artist sees the world and does his work.
The Jacobi family of the 1950s, however, is only part of this novel. A half century later, Richard has moved back to the same house on San Remo Drive where he spent his adolescence. Naturally, he seeks to re-create that past of sunshine and lemon groves and innocence, of 78 rpm records, artistic freedom, and all the "early sorrows and many joys" before his family's tragic dissolution. But perhaps the greater task for the adult Richard is simply to lead a decent life, now that he is a famous painter and head of a new family that is about to face an inescapable tragedy of its own.

The film Casablanca opens with the words, "With the coming of the Second World War, many eyes in imprisoned Europe turned hopefully, or desperately, toward the freedom of the Americas." Leslie Epstein's Hill of Beans is the story of how one nation, one industry, and, in particular, one man responded to that desperate hope. That man is Jack Warner. His impossible goal is to make world events--most importantly, the invasion of North Africa by British and American forces in 1942--coincide with the release of his new film about a group of refugees marooned in Morocco. Arrayed against him are Stalin and Hitler, as well as Josef Goebbels, Franklin Roosevelt, a powerful gossip columnist, and above all a beautiful young woman with a terrible secret. His only weapons are his hutzpah and his heroism as he struggles to bring cinema and city, conflict and conference together in an epic command performance. Hill of Beans is the novel that Leslie Epstein--the son and nephew of Philip and Julius Epstein, the screenwriters of Casablanca--was born to write.

The King of the Jews is I.C. Trumpelman, the member of the Judenrat responsible for drawing up the death camp lists, a power he uses to establish his own authoritarian regime.