Observatory Mansions was once the Orme family's ancestral home, a magnificent residence with beautiful grounds. Now it is a crumbling apartment block, stranded on a roundabout and inhabited by eccentrics. Francis Orme, an odd little man who makes a living as a human statue in the centre of the decaying city, lives in Observatory Mansions with his parents and the other equally maladjusted misfits, all of them taking comfort in their solitude and curious harmony. In the cellar is Francis' treasured Exhibition. Carefully catalogued are all the items he has ever stolen. But the arrival of a new resident upsets the delicate balance of Observatory Mansions and Francis finds himself taking drastic measures to protect the secrets of his past and the sanctity of his collection.

"Easily the most brilliant fiction I've seen this year -- it proves the potential brilliance of the novel form." -- John Fowles, author of The Magus Observatory Mansions, once the Orme family's magnificent ancestral home set on beautiful grounds, is now a crumbling apartment block stranded on a traffic island, peopled with eccentrics. Thirty-seven-year-old Francis Orme lives in Observatory Mansions with his peculiar parents and a collection of misfits. By day he is a street performer, earning money as "a statue of whiteness" in the park, wearing white gloves to ensure that his skin never touches anything. He steals items for his museum of significant objects (996 in all), not for their monetary value but because they have been loved, often bringing grief to their erstwhile owners. His bedridden mother, Alice, who has created for herself an alternative time frame called "fiction," and his father, Francis, are among the occupants set apart from the rest of the busy city by their histories, their memories, and their relationships with the other seven inhabitants of the flats. Each of the house dwellers has his or her own story, as seen through Francis's eyes, and the careful routine and harmony of the house are shaken when along comes a new resident, the half-blind, vulnerable Anna Tap. She is sympathetic and resourceful, and slowly the desperately lonely residents begin to open up their long-closed hearts. As the delicate balance of Observatory Mansions begins to shift, Francis finds himself having to protect the secrets of his past and the sanctity of his collection, while growing emotionally closer to Anna. Hailed as no less than a tour de force, Observatory Mansions is a debut novel of immense originality--a strangely haunting landscape occupied by compelling and unforgettable characters.

Part one of an unusual and astonishing new fantasy trilogy that blends fine literary fare with a terrific romp through the reimagined outskirts of Victorian-era London In the imaginary borough of Filching, the extensive Iremonger family (“kings of mildew, moguls of mould”) have made a fortune from junk, building a dark and sprawling mansion from salvage scrap. Heap House is surrounded by the dangerous, noxious, shifting Heaps that stretch beyond its bounds. And within its walls, certain objects begin to display strange signs of life. Young Clod Iremonger is about to be "trousered" and betrothed (unwillingly) to his cousin Pinalippy when he meets the plucky orphan servant Lucy Pennant, with whose help he begins to uncover the dark secrets of his family’s empire. Mystery, romance and the perils of the Heaps await! Gorgeously (and ghoulishly) illustrated by the author, Heap House is peopled with unforgettable characters with delightfully skewed names--anxious, animal-loving Tummis with his pet seagull; menacing cousin Moorcus; dreadful Aunt Rosamud and more. As Carey writes, “Every life is thick with rubbish, but the Iremongers did it with a difference.”

A NEW YORK TIMES EDITORS' CHOICE “A strange and tender parable . . . All of Edward Carey's work is profound and delightful.” —Max Porter, author of Lanny The ingenious storyteller Edward Carey returns to reimagine a time-honored fable: the story of an impatient father, a rebellious son, and a watery path to forgiveness for the young man known as Pinocchio In the small Tuscan town of Collodi, a lonely woodcarver longs for the companionship of a son. One day, “as if the wood commanded me,” Giuseppe—better known as Geppetto—carves for himself a pinewood boy, a marionette he hopes to take on tour worldwide. But when his handsome new creation comes magically to life, Geppetto screams . . . and the boy, Pinocchio, leaps from his arms and escapes into the night. Though he returns the next day, the wily boy torments his father, challenging his authority and making up stories—whereupon his nose, the very nose his father carved, grows before his eyes like an antler. When the boy disappears after one last fight, the father follows a rumor to the coast and out into the sea, where he is swallowed by a great fish—and consumed by guilt. He hunkers in the creature’s belly awaiting the day when he will reconcile with the son he drove away. With all the charm, atmosphere, and emotional depth for which Edward Carey is known—and featuring his trademark fantastical illustrations—The Swallowed Man is a parable of parenthood, loss, and letting go, from a creative mind on a par with Gregory Maguire, Neil Gaiman, and Tim Burton.

We surround ourselves with material things that are invested with memories but can only stand for what we have lost. Physical objects—such as one’s own body—situate and define us; yet at the same time they are fundamentally indifferent to us. The melancholy of this rift is a rich source of inspiration for artists. Peter Schwenger deftly weaves together philosophical and psychoanalytical theory with artistic practice. Concerned in part with the act of collecting, The Tears of Things is itself a collection of exemplary art objects—literary and cultural attempts to control and possess things—including paintings by Georgia O’Keeffe and René Magritte; sculpture by Louise Bourgeois and Marcel Duchamp; Joseph Cornell’s boxes; Edward Gorey’s graphic art; fiction by Virginia Woolf, Georges Perec, and Louise Erdrich; the hallucinatory encyclopedias of Jorge Luis Borges and Luigi Serafini; and the corpse photographs of Joel Peter Witkin. However, these representations of objects perpetually fall short of our aspirations. Schwenger examines what is left over—debris and waste—and asks what art can make of these. What emerges is not an art that reassembles but one that questions what it means to assemble in the first place. Contained in this catalog of waste is that ultimate still life, the cadaver, where the subject-object dichotomy receives its final ironic reconciliation. Peter Schwenger is professor of English at Mount St. Vincent University in Halifax, Nova Scotia. He is the author of Fantasm and Fiction: On Textual Envisioning, Letter Bomb: Nuclear Holocaust and the Exploding Word, and Phallic Critiques: Masculinity and Twentieth-Century Literature.

First published in 1905, German poet Christian Morgenstern's Im Reich der Interpunktionen (In the Land of Punctuation) is a comic poem on the flow of language--and the breaks in it. Punctuation signs are markers of pauses, interruptions, asides and stops. But they also point to intonation, intent and emotion ... a fact used brilliantly by Morgenstern to turn them into characters with their own agendas, in a drama that careens towards an inevitable end. It is a fun romp, and yet the political undertones are unmistakable, suggesting menacing systems of control. Adding a new dimension to the connection between marks and meaning, graphic designer Rathna Ramanathan illustrates this tranlated version of the poem with punctuation signs. She evokes older traditions like calligrams and the art of the Russian Constructivists, while developing her own ingenious--and very contemporary--idiom. Her visual grammar balances bold experimentation with precise communication, creating an artist's book at the crossroads of language, graphic design and politics. This signed, limited edition book has been silkscreen-printed and bound by hand on recycled handmade paper, at Tara Books' print workshop, run on fair trade practices."--Back cover.

Presents a survey of key contemporary artists who have each embraced painting and are working within a realist tradition. Through individual interviews, discusses their methods, motives and sources, from art history to the Internet and the language of film.