A brilliant novel by the Norwegian master Dag Solstad Bjorn Hansen, a respectable town treasurer, has just turned fifty and is horrified by the thought that chance has ruled his life. Eighteen years ago he left his wife and their two-year-old son for his mistress, who persuaded him to start afresh in a small, provincial town and to devote himself to an amateur theater.In time that relationship also faded, and after four years of living alone Bjorn contemplates an extraordinary course of action that will change his life forever. He finds a fellow conspirator in Dr. Schiotz, who has a secret of his own and offers to help Bjorn carry his preposterous plan through to its logical conclusion. But the sudden reappearance of his son both fills Bjorn with new hope and complicates matters. The desire to gamble with his comfortable existence proves irresistible, however, taking him to Vilnius in Lithuania, where very soon he cannot tell whether he’s tangled up in a game or reality. Dag Solstad won the Norwegian Critics Prize for Literature for Novel 11, Book 18, a concentrated uncompromising existential novel that puts on full display the author’s remarkable gifts and wit.

THE #1 NEW YORK TIMES BESTSELLING JACK REACHER SERIES • The inspiration for season two of the hit streaming series Reacher! “Electrifying . . . this series [is] utterly addictive.”—Janet Maslin, The New York Times From a helicopter high above the California desert, a man is sent free-falling into the night. On the streets of Portland, Jack Reacher is pulled out of his wandering life and plunged into the heart of a conspiracy that is killing old friends . . . and the people he once trusted with his life. Reacher is the ultimate loner—no phone, no ties, no address. But a woman from his old military unit has found him using a signal only the eight members of their elite team would know. Then she tells him a terrifying story about the brutal death of a man they both served with. Soon Reacher is reuniting with the survivors of his team, scrambling to unravel the sudden disappearance of two other comrades. But Reacher won’t give up—because in a world of bad luck and trouble, when someone targets Jack Reacher and his team, they’d better be ready for what comes right back at them.

Novel: Two authors, separated by the span of a generation, as two parallel strands that coil and tighten into a spiral, or perhaps a double helix.

This is a comprehensive study of the first decade of literary representations of 9/11, moving from Art Spiegelman's In the Shadow of No Towers (2003) to Amy Waldman's The Submission (2012). It traces the way literature has dealt with an event that continues to shape world conflict and resonate prominently in the American imagination, and argues that the corpus of literary fiction discussing 9/11 is characterized by a fundamental sense of conflictedness related to the tensions between trauma or mourning and political imperatives. The work offers in-depth analyses of texts that have historicized 9/11 and shaped the way we understand this key moment in American and world history.

Transnational Politics in the Post-9/11 Novel suggests that literature after September 11, 2001 reflects the shift from bilateral nation-state politics to the multilateralism of transnational politics. While much of the criticism regarding novels of 9/11 tends to approach these works through theories of personal and collective trauma, this book argues for the evolution of a post-9/11 novel that pursues a transversal approach to global conflicts that are unlikely to be resolved without diverse peoples willing to set aside sectarian interests. These novels embrace not only American writers such as Don DeLillo, Dave Eggers, Ken Kalfus, Thomas Pynchon, and Amy Waldman but also the countervailing perspectives of global novelists such as J. M. Coetzee, Orhan Pamuk, Mohsin Hamid, and Laila Halaby. These are not novels about terror(ism), nor do they seek comfort in the respectful cloak of national mourning. Rather, they are instances of the novel in terror, which recognizes that everything having been changed after 9/11, only the formally inventive presentation will suffice to acknowledge the event’s unpresentability and its shock to the political order.