This novel is one of the most ambitious and remarkable literary achievements of our time. It is a picaresque, psychological novel--a novel of the road, a journey or voyage of the human spirit in its search for reality in a world of illusion and nightmare. It is an epic of what might be called the Arabian Nights of American life. Marguerite Young's method is poetic, imagistic, incantatory; in prose of extraordinary richness she tests the nature of her characters--and the nature of reality. Miss MacIntosh, My Darling is written with oceanic music moving at many levels of consciousness and perception; but the toughly fibred realistic fabric is always there, in the happenings of the narrative, the humor, the precise details, the definitions of the characters. Miss MacIntosh herself, who hails from What Cheer, Iowa, and seems downright and normal, with an incorruptible sense of humor and the desire to put an end to phantoms; Catherine Cartwheel, the opium lady, a recluse who is shut away in a great New England seaside house and entertains imaginary guests; Mr. Spitzer, the lawyer, musical composer and mystical space traveler, a gentle man, wholly unsure of himself and of reality; his twin brother Peron, the gay and raffish gambler and virtuoso in the world of sports; Cousin Hannah, the horsewoman, balloonist, mountain-climber and militant Boston feminist, known as Al Hamad through all the seraglios of the East; Titus Bonebreaker of Chicago, wild man of God dreaming of a heavenly crown; the very efficient Christian hangman, Mr. Weed of the Wabash River Valley; a featherweight champion who meets his equal in a graveyard--these are a few who live with phantasmagorical vividness in the pages of Miss MacIntosh, My Darling. The novel touches on many aspects of life--drug addiction, woman's suffrage, murder, suicide, pregnancy both real and imaginary, schizophrenia, many strange loves, the psychology of gambling, perfectionism; but the profusion of this huge book serves always to intensify the force of the central question: "What shall we do when, fleeing from illusion, we are confronted by illusion?" What is real, what is dream? Is the calendar of the human heart the same as that kept by the earth? Is it possible that one may live a secondary life of which one does not know? In every aspect, Miss MacIntosh, My Darling stands by itself--in the lyric beauty of its prose, its imaginative vitality and cumulative emotional power. It is the work of a writer of genius.

Miss MacIntosh herself, who hails from What Cheer, Iowa, and seems downright and normal, with an incorruptible sense of humor and the desire to put an end to phantoms; Catherine Cartwheel, the opium lady, a recluse who is shut away in a great New England seaside house and entertains imaginary guests; Mr. Spitzer, the lawyer, musical composer and mystical space traveler, a gentle man, wholly unsure of himself and of reality; his twin brother Peron, the gay and raffish gambler and virtuoso in the world of sports; Cousin Hannah, the horsewoman, balloonist, mountain-climber and militant Boston feminist, known as Al Hamad through all the seraglios of the East; Titus Bonebreaker of Chicago, wild man of God dreaming of a heavenly crown; the very efficient Christian hangman, Mr. Weed of the Wabash River Valley; a featherweight champion who meets his equal in a graveyard--these are a few who live with phantasmagorical vividness in the pages of Miss MacIntosh, My Darling.

Angel in the Forest is Marguerite Young's fascinating chronicle of two attempts to establish utopian communities in nineteenth-century America. In it, she recounts the strange tale of New Harmony, Indiana, a community originally founded in 1814 by the German mystic Father George Rapp, who wanted to apply Scriptural communism to daily life in order to bring about the New Jerusalem. It was sold in 1825 to Robert Owen, the father of British socialism who, with a group of English immigrants, implemented his own theories for a perfect community, this time based on rationalism. Both experiments failed, but Young finds in both a distinctively American yearning for utopia, which continues to characterize the American spirit to this day: a tradition of faith and folly can be traced from Owen's New Moral World to George Bush's New World Order. Written with the same elegance, wit, and lyric beauty that distinguishes her fiction, Angel in the Forest was widely praised upon its first publication in 1945. This edition includes Mark Van Doren's introduction to Scribner's 1966 reprint.

A virtuosic epic applauded by Stanley Crouch as “an adventurous masterwork that provides our literature with a signal moment,” back in print in a definitive new edition “I have an awful memory for faces, but an excellent one for voices,” muses Joubert Jones, the aspiring playwright at the center of Divine Days. A kaleidoscopic whorl of characters, language, music, and Black experience, this saga follows Jones for one week in 1966 as he pursues the lore and legends of fictional Forest County, a place resembling Chicago’s South Side. Joubert is a veteran, recently returned to the city, who works for his aunt Eloise’s newspaper and pours drinks at her Night Light Lounge. He wants to write a play about Sugar-Groove, a drifter, “eternal wunderkind,” and local folk hero who seems to have passed away. Sugar-Groove’s disappearance recalls the subject of one of Joubert’s earlier writing attempts—W. A. D. Ford, a protean, diabolical preacher who led a religious sect known as “Divine Days.” Joubert takes notes as he learns about both tricksters, trying to understand their significance. Divine Days introduces readers to a score of indelible characters: Imani, Joubert’s girlfriend, an artist and social worker searching for her lost siblings and struggling to reconcile middle class life with her values and Black identity; Eloise, who raised Joubert and whose influence is at odds with his writerly ambitions; (Oscar) Williemain, a local barber, storyteller, and founder of the Royal Rites and Righteous Ramblings Club; and the Night Light’s many patrons. With a structure inspired by James Joyce and jazz, Leon Forrest folds references to African American literature and cinema, Shakespeare, the Bible, and classical mythology into a heady quest that embraces life in all its tumult and adventure. This edition brings Forrest’s masterpiece back into print, incorporating hundreds of editorial changes that the author had requested from W. W. Norton, but were not made for their editions in 1993 and 1994. Much of the inventory from the original printing of the book by Another Chicago Press in 1992 had been destroyed in a disastrous warehouse fire.

David Markson was a writer like no other. In his novels, which have been called "hypnotic," "stunning," and "exhilarating" and earned him praise from the likes of Kurt Vonnegut and David Foster Wallace, Ann Beattie and Zadie Smith. Markson created his own personal genre. With crackling wit distilled into incantatory streams of thought on art, life, and death, Markson's work has delighted and astonished readers for decades. Now for the first time, three of Markson's masterpieces are compiled into one page–turning volume: This Is Not a Novel, Vanishing Point, and The Last Novel. In This Is Not a Novel, readers meet an author, called only "Writer," who is weary unto death of making up stories, and yet is determined to seduce the reader into turning pages and getting somewhere. Vanishing Point introduces us to "Author," who sets out to transform shoeboxes crammed with note cards into a novel. In The Last Novel, we find an elderly author (referred to only as "Novelist") who announces that, since this will be his final effort, he possesses "carte blanche to do anything he damn well pleases." United by their focus on the trials, calamities, absurdities and even tragedies of the creative life, these novels demonstrate David Markson's extraordinary intellectual richness—leaving readers, time after time, with the most indisputably original of reading experiences.

Tracing the Great War through the Millennium Bug, 1999 through 1900, Dadaism through Scientology through Sierra Leonean bicycle riding and back, award-winning Czech author Patrik Ourednik explores the horror and absurdity of the twentieth century in an explosive deconstruction of historical memory. Europeana: A Brief History of the Twentieth Century opens on the beaches of Normandy in 1944, comparing the heights of different forces’ soldiers and considering how tall, long, or good at fertilizing fields the men’s bodies will be. Probing the depths of humanity and inhumanity, this is an account of history as it has never been told: “engaging, even frightening.” At once recreating and uncreating the twentieth century, Ourednik explores the connections across the decades between the disparate figures, events, and politics we thought we knew. Patrik Ourednik’s Europeana merits the author’s reputation as a giant of post-1989 Czech literature. Now translated into 33 languages, the book is a masterwork of cubism, a polymorphic monologue of statistics and movements and fine print and discoveries that evokes the deadpan absurdity of Kafka and the gallows humor of Hašek. Ourednik has created a mesmerizing, maddening account of the past, and his interrogation of “truth” and objectivity resonates now more than ever.

Winner of The Believer Book Award for Nonfiction "Meghan O'Gieblyn's deep and searching essays are written with a precise sort of skepticism and a slight ache in the heart. A first-rate and riveting collection." --Lorrie Moore A fresh, acute, and even profound collection that centers around two core (and related) issues of American identity: faith, in general and the specific forms Christianity takes in particular; and the challenges of living in the Midwest when culture is felt to be elsewhere. What does it mean to be a believing Christian and a Midwesterner in an increasingly secular America where the cultural capital is retreating to both coasts? The critic and essayist Meghan O'Gieblyn was born into an evangelical family, attended the famed Moody Bible Institute in Chicago for a time before she had a crisis of belief, and still lives in the Midwest, aka "Flyover Country." She writes of her "existential dizziness, a sense that the rest of the world is moving while you remain still," and that rich sense of ambivalence and internal division inform the fifteen superbly thoughtful and ironic essays in this collection. The subjects of these essays range from the rebranding (as it were) of Hell in contemporary Christian culture ("Hell"), a theme park devoted to the concept of intelligent design ("Species of Origin"), the paradoxes of Christian Rock ("Sniffing Glue"), Henry Ford's reconstructed pioneer town of Greenfield Village and its mixed messages ("Midwest World"), and the strange convergences of Christian eschatology and the digital so-called Singularity ("Ghosts in the Cloud"). Meghan O'Gieblyn stands in relation to her native Midwest as Joan Didion stands in relation to California - which is to say a whole-hearted lover, albeit one riven with ambivalence at the same time.