Reminiscent of her classic story 'The Lottery', Jackson's disturbing and darkly funny first novel exposes the underside of American suburban life. 'Her books penetrate keenly to the terrible truths which sometimes hide behind comfortable fictions, to the treachery beneath cheery neighborhood faces and the plain manners of country folk; to the threat that sparkles at the rainbow's edge of the sprinkler spray on even the greenest lawns, on the sunniest of midsummer mornings' Donna Tartt In Pepper Street, an attractive suburban neighbourhood filled with bullies and egotistical bigots, the feelings of the inhabitants are shallow and selfish: what can a neighbour gain from another neighbour, what may be won from a friend? One child stands alone in her goodness: little Caroline Desmond, kind, sweet and gentle, and the pride of her family. But the malice and self-absorption of the people of Pepper Street lead to a terrible event that will destroy the community of which they are so proud. Exposing the murderous cruelty of children, and the blindness and selfishness of adults, Shirley Jackson reveals the ugly truth behind a 'perfect' world. Shirley Jackson's chilling tales have the power to unsettle and terrify unlike any other. She was born in California in 1916. When her short story The Lottery was first published in The New Yorker in 1948, readers were so horrified they sent her hate mail; it has since become one of the greatest American stories of all time. Her first novel, The Road Through the Wall, was published in the same year and was followed by five more: Hangsaman, The Bird's Nest, The Sundial, The Haunting of Hill House and We Have Always Lived in the Castle, widely seen as her masterpiece. Shirley Jackson died in her sleep at the age of 48. 'An amazing writer' Neil Gaiman 'Shirley Jackson is one of those highly idiosyncratic, inimitable writers ... whose work exerts an enduring spell' Joyce Carol Oates 'An unburnished exercise in the sinister' The New York Times

WINNER OF THE PULITZER PRIZE • NATIONAL BESTSELLER • A searing, post-apocalyptic novel about a father and son's fight to survive, this "tale of survival and the miracle of goodness only adds to McCarthy's stature as a living master. It's gripping, frightening and, ultimately, beautiful" (San Francisco Chronicle). • From the bestselling author of The Passenger A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other. The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.

Beyond the Wall is the first book, in either English or German, to tell the whole story of the extraordinary revolution that demolished the Berlin Wall, ended the Cold war, and tore apart the Soviet regime. Elizabeth Pond, former Moscow and European correspondent for the Christian Science Monitor, was an eyewitness to the dramatic events of 1989-92 and to the fifteen years of relations between Germany and Eastern Europe leading up to them. Pond weaves together in riveting prose the strands of events that are usually recounted separately. Rather than looking just at the East German revolt or the process of unification that created a new nation, she traces the interaction of these events and their diplomatic consequences for Europe. Pond shows the political, economic, and social forces at work--leading up to the unification, during the transition process, and in the aftermath. Looking at the European framework, she explains how significantly the European Community and its move toward integration both affected and were affected by German unification. The book contains a wealth of new information form hundreds of interviews with top German and American policymakers, East German Politburo members and average German citizens. It also incorporates up-to-date research on such topics as the Stasi secret police and the midlife crisis of the German left. Pond concludes with an assessment of the roles of the United States and a unified Germany in the new Europe. Calling for a continued partnership between the United States and Germany, who "have come through a common baptism of fire since the fall of the Berlin Wall," Pond casts an optimistic eye toward the future.

The Berlin Wall is arguably the most prominent symbol of the Cold War era. Its construction in 1961 and its dismantling in 1989 are broadly understood as pivotal moments in the history of the last century. In A Wall of Our Own, Paul M. Farber traces the Berlin Wall as a site of pilgrimage for American artists, writers, and activists. During the Cold War and in the shadow of the Wall, figures such as Leonard Freed, Angela Davis, Shinkichi Tajiri, and Audre Lorde weighed the possibilities and limits of American democracy. All were sparked by their first encounters with the Wall, incorporated their reflections in books and artworks directed toward the geopolitics of division in the United States, and considered divided Germany as a site of intersection between art and activism over the respective courses of their careers. Departing from the well-known stories of Americans seeking post–World War II Paris for their own self-imposed exile or traveling the open road of the domestic interstate highway system, Farber reveals the divided city of Berlin as another destination for Americans seeking a critical distance. By analyzing the experiences and cultural creations of "American Berliner" artists and activists, Farber offers a new way to view not only the Wall itself but also how the Cold War still structures our thinking about freedom, repression, and artistic resistance on a global scale.