“What I wanted more than anything was to be standing beside Schmidt, in concert with Schmidt, at the foot of Saint Sebastian’s Abyss along with Schmidt, hands cupped to the sides of our faces, debating art, transcendence, and the glory of the apocalypse.” Former best friends who built their careers writing about a single work of art meet after a decades-long falling-out. One of them, called to the other’s deathbed for unknown reasons by a “relatively short” nine-page email, spends his flight to Berlin reflecting on Dutch Renaissance painter Count Hugo Beckenbauer and his masterpiece, Saint Sebastian’s Abyss, the work that established both men as important art critics and also destroyed their relationship. A darkly comic meditation on art, obsession, and the enigmatic power of friendship, Saint Sebastian’s Abyss stalks the museum halls of Europe, feverishly seeking salvation, annihilation, and the meaning of belief.

At the turn of the twentieth century, as he composes a treatise on melancholy, Jacov Reinhardt sets off from his small Croatian village in search of his hero and unwitting mentor, Emiliano Gomez Carrasquilla, who is rumored to have disappeared into the South American jungle—“not lost, mind you, but retired.” Jacov’s narcissistic preoccupation with melancholy consumes him, and as he desperately recounts the myth of his journey to his trusted but ailing scribe, hope for an encounter with the lost philosopher who holds the key to Jacov’s obsession seems increasingly unlikely. From Croatia to Germany, Hungary to Russia, and finally to the Americas, Jacov and his companions grapple with the limits of art, colonialism, and escapism in this antic debut where dark satire and skewed history converge.

The narrator of The Longcut is an artist who doesn’t know what her art is. As she gets lost on her way to a meeting in an art gallery, walking around in circles in a city she knows perfectly well, she finds herself endlessly sidetracked and distracted by the question of what her work is and how she’ll know it when she sees it. Her mental peregrinations take her through the elements that make up her life: her dull office job where she spends the day moving items into a “completed” column, insomniac nights in her so-called studio (also known as her tiny apartment), encounters with an enigmatic friend who may or may not know her better than she knows herself. But wherever she looks she finds only more questions—what is the difference between the world and the photographed world, why do objects wither in different contexts, what is Cambridge blue—that lead her further away from the one thing that really matters. An extraordinary feat of syntactical dexterity and comic ingenuity, The Longcut is ultimately a story of resistance to easy answers and the place of art and the artist in the world.

Winner of the Hugo Award! In A Psalm for the Wild-Built, bestselling Becky Chambers's delightful new Monk and Robot series, gives us hope for the future. It's been centuries since the robots of Panga gained self-awareness and laid down their tools; centuries since they wandered, en masse, into the wilderness, never to be seen again; centuries since they faded into myth and urban legend. One day, the life of a tea monk is upended by the arrival of a robot, there to honor the old promise of checking in. The robot cannot go back until the question of "what do people need?" is answered. But the answer to that question depends on who you ask, and how. They're going to need to ask it a lot. Becky Chambers's new series asks: in a world where people have what they want, does having more matter? At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Nabokov's first novel in English, one of his greatest and most overlooked, with a new Introduction by Michael Dirda.

This fictional memoir, the first of an autobiographical trilogy, traces a self professed failure's nightmarish decent into the underside of American life and his resurrection to the wisdom that emerges from despair.

From the author of Reinhardt's Garden and Saint Sebastian's Abyss comes a breathless new novel of delirious obsession. Bereft after the death of his ailing wife, a retired professor has resumed his life's work—a book that will stand as a towering cathedral to Michel de Montaigne, reframing the inventor of the essay for the modern age. The challenge is the litany of intrusions that bar his way—from memories of his past to the nattering of smartphones to his son's relentless desire to make an electronic dance album. As he sifts through the contents of his desk, his thoughts pulsing and receding in a haze of caffeine, ghosts and grievances spill out across the page. From the community college where he toiled in vain to an artists' colony in the Berkshires, from the endless pleasures of coffee to the finer points of Holocaust art, the professor's memories churn with sculptors, poets, painters, and inventors, all obsessed with escaping both mediocrity and themselves. Laced with humor as acrid as it is absurd, Lesser Ruins is a spiraling meditation on ambition, grief, and humanity's ecstatic, agonizing search for meaning through art.