What’s a novelist supposed to do with contemporary culture? And what’s contemporary culture sup­posed to do with novelists? In The Ecstasy of Influence, Jonathan Lethem, tangling with what he calls the “white elephant” role of the writer as public intellectual, arrives at an astonishing range of answers. A constellation of previously published pieces and new essays as provocative and idiosyncratic as any he’s written, this volume sheds light on an array of topics from sex in cinema to drugs, graffiti, Bob Dylan, cyberculture, 9/11, book touring, and Marlon Brando, as well as on a shelf’s worth of his literary models and contemporaries: Norman Mailer, Paula Fox, Bret Easton Ellis, James Wood, and oth­ers. And, writing about Brooklyn, his father, and his sojourn through two decades of writing, Lethem sheds an equally strong light on himself.

In a volume he describes as "a series of covert and not-so-covert autobiographical pieces," Jonathan Lethem explores the nature of cultural obsession—from western films and comic books, to the music of Pink Floyd and the New York City subway. Along the way, he shows how each of these "voyages out from himself" has led him to the source of his beginnings as a writer. The Disappointment Artist is a series of windows onto the collisions of art, landscape, and personal history that formed Lethem’s richly imaginative, searingly honest perspective on life. A touching, deeply perceptive portrait of a writer in the making.

Hungry for Ecstasy: Trauma, The Brain, and the Influence of the Sixties by Sharon Klayman Farber explores the hunger for ecstatic experience that can lead people down the road to self-destruction. In an attempt to help mental health professionals and concerned individuals understand and identify the phenomenon and ultimately intervene with patients, friends, and loved ones, Farber speaks both personally and professionally to the reader. She discusses the different paths taken on the road to ecstatic states. There are religious ecstasies, ecstasies of pain and near-death experiences, cult-induced ecstasies, creative ecstasies, and ecstasies from hell. Hungry for Ecstasy explores not only the neuroscientific processes involved but also the influence of the sixties in driving people to seek these states. Finally, Farber draws from her own personal and professional experience to advise others how to intervene on behalf of the person whose behavior puts his or her life at risk.

“The role of the critic,” Daniel Mendelsohn writes, “is to mediate intelligently and stylishly between a work and its audience; to educate and edify in an engaging and, preferably, entertaining way.” His latest collection exemplifies the range, depth, and erudition that have made him “required reading for anyone interested in dissecting culture” (The Daily Beast). In Ecstasy and Terror, Mendelsohn once again casts an eye at literature, film, television, and the personal essay, filtering his insights through his training as a scholar of classical antiquity in illuminating and sometimes surprising ways. Many of these essays look with fresh eyes at our culture’s Greek and Roman models: some find an arresting modernity in canonical works (Bacchae, the Aeneid), while others detect a “Greek DNA” in our responses to national traumas such as the Boston Marathon bombings and the assassination of JFK. There are pieces on contemporary literature, from the “aesthetics of victimhood” in Hanya Yanagihara’s A Little Life to the uncomfortable mixture of art and autobiography in novels by Henry Roth, Ingmar Bergman, and Karl Ove Knausgård. Mendelsohn considers pop culture, too, in essays on the feminism of Game of Thrones and on recent films about artificial intelligence—a subject, he reminds us, that was already of interest to Homer. This collection also brings together for the first time a number of the award-winning memoirist’s personal essays, including his “critic’s manifesto” and a touching reminiscence of his boyhood correspondence with the historical novelist Mary Renault, who inspired him to study the Classics.

A New York Times Book Review EDITORS' CHOICE. From the National Book Critics Circle Award-winning author of Motherless Brooklyn, comes the vividly told story of Dylan Ebdus growing up white and motherless in downtown Brooklyn in the 1970s. In a neighborhood where the entertainments include muggings along with games of stoopball, Dylan has one friend, a black teenager, also motherless, named Mingus Rude. Through the knitting and unraveling of the boys' friendship, Lethem creates an overwhelmingly rich and emotionally gripping canvas of race and class, superheros, gentrification, funk, hip-hop, graffiti tagging, loyalty, and memory. "A tour de force.... Belongs to a venerable New York literary tradition that stretches back through Go Tell It on the Mountain, A Walker in the City, and Call it Sleep." --The New York Times Magazine "One of the richest, messiest, most ambitious, most interesting novels of the year.... Lethem grabs and captures 1970s New York City, and he brings it to a story worth telling." --Time

The book remains a central work of criticism for all students of literature.

A New York Times Book Review Best Book of the Year. A searing and wildly entertaining love letter to New York City from the bestselling author of Motherless Brooklyn and Fortress of Solitude. Chase Insteadman, former child television star, has a new role in life—permanent guest on the Upper East Side dinner party circuit, where he is consigned to talk about his astronaut fiancée, Janice Trumbull, who is trapped on a circling Space Station. A chance encounter collides Chase with Perkus Tooth, a wily pop culture guru with a vicious conspiratorial streak and the best marijuana in town. Despite their disparate backgrounds and trajectories Chase and Perkus discover they have a lot in common, including a cast of friends from all walks of life in Manhattan. Together and separately they attempt to define the indefinable, and enter into a quest for the most elusive of things: truth and authenticity in a city where everything has a price. "Full of dark humor and dazzling writing" --Entertainment Weekly