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In the waning summer days, a lake appears almost overnight in the middle of Los Angeles. Out of fear and love, a young single mother commits a desperate act: convinced that the lake means to take her small son from her, she determines to stop it and becomes the lake's Dominatrix-Oracle, "the Queen of the Zed Night." Acclaimed by many critics as Steve Erickson's greatest novel, takes place on the forbidden landscape of a defiant heart.<

A prisoner with a haunted past is released into ravaged Los Angeles, where he pursues an elusive girl to the shores or Rubicon Beach and faces his lost destiny. In his second novel, Steve Erickson creates a decaying world filled with leftover passions and poetic vision that established him as one of the most original and evocative American writers of his generation.<

One November night in a canyon outside L.A., Zan Nordhoc-a failed novelist turned pirate radio DJ-sits before the television with his small, adopted black daughter, watching the election of his country's first black president. In the nova of this historic moment, with an economic recession threatening their home, Zan, his wife and their son set out to solve the enigma of the little girl's life. When they find themselves scattered and strewn across two continents, a mysterious stranger with a secret appears, who sends the story spiraling forty years into the past.<

The apocalypse will be asymmetrical.

In the aftermath of a plague that has decimated the world population, the unnamed midwife confronts a new reality in which there may be no place for her. Indeed, there may be no place for any woman except at the end of a chain. A radical rearrangement is underway. With one woman left for every ten men, the landscape that the midwife travels is fraught with danger. She must reach safety— but is it safer to go it alone or take a chance on humanity? The friends she makes along the way will force her to choose what’s more important. Civilization stirs from the ruins, taking new and experimental forms. The midwife must help a new world come into being, but birth is always dangerous… and what comes of it is beyond anyone’s control.

When Samuel Tyne emigrated from the Gold Coast (now Ghana) in 1955, he was determined to accomplish great things. He excelled at Oxford and then came to Canada with the uncle who raised him, leaving the traditions and hard life of his homeland behind. Here, in this nation of immigrants, Samuel would surely be free to follow his destined path to success.

That new beginning didn’t live up to Samuel’s expectations. As the novel opens fifteen years later, he is working as an economic forecaster for the government in Calgary. It’s a stiflingly bureaucratic, dead-end job, where petty managerial types and lifeless co-workers make Samuel’s days almost unbearable.

Everything changes for Samuel when he finds out that his Uncle Jacob has died. Samuel and his uncle had grown apart. They had not spoken for a number of years, though Jacob had raised Samuel and, in a way, sacrificed himself for Samuel’s future. Jacob’s death weighs heavily on Samuel, yet his reaction seems more about having “a singular chance to get all his sadness out” than about familial love. Samuel is jolted out of his sadness and his workaday world when he receives a call telling him he has inherited Jacob’s old mansion in the small town of Aster, Alberta. The town, originally settled by freed slaves from Oklahoma, sounds to Samuel like the perfect place to start a new life, one that would allow him to live up to his potential, and he decides to exchange the drudgery of the city for the simplicity of small-town existence. When Samuel leaves his office for good after yet another minor humiliation, we cheer his resolve and look forward to what the coming days will bring.

Samuel believes that he is setting on a path to fulfill his personal expectations, but we begin to see the signs of what one reviewer has called Samuel’s “pathological temerity.” He doesn’t tell his family what has happened: not that he’s inherited the house, or that he plans to move there or even that he’s quit his job. Instead, he spends his days tinkering in the shed, emerging at just the right time to make it seem like he’s coming home from work. The truth comes out only when one of his daughters discovers his secret. His deception points to a paralyzing inability to communicate with others and suggests that this new beginning may be as fruitless as the last.

Maud and the twins, Chloe and Yvette, resist the move to Aster, but are helpless in the face of Samuel’s conviction that this is the right thing to do. And when they arrive, their new home — a gloomy, worn-down remnant of days long past — doesn’t exactly fill them with hope. But the seeds of renewal have been sown, the move has been made and they hesitantly take up their new lives. At first, the Tynes seem to be settling in — they meet some of their neighbours, Samuel sets up his own electronics shop, Maud begins to fix up the house and the twins are curious enough to at least begin exploring their new home. However, the idealized Aster of Samuel’s imagination proves to be as false as his family’s veneer of acceptance, and a dark undercurrent of small-mindedness, racism and violence soon turns on the town’s newest residents. When mysterious fires begin to destroy local buildings, and the bizarre yet brilliant twins retreat into their own dark world, Samuel’s fabled second chance slips slowly out of his grasp.

JARED DIAMOND, a University of California világhírű élettanprofesszora szerint az ember szexuális viselkedése, mely a leghevesebb gyönyörök, gyakorta pedig a szenvedések és nyomorúságok forrása, kifejezetten bizarr, legalábbis ha a földünkön élő többi 4300 emlősfajéhoz hasonlítjuk. A tudósok feltételezik, hogy még legközelebbi majomszerű őseink is döntően másfajta "szexet" űztek. Mely evolúciós erők hatására lettünk olyannyira másmilyenek? Miért pont így kellett történnie? Mi is olyan meghökkentő bennünk, emberekben? A szerző sziporkázóan szellemes érveléssel és megragadó példák sokaságával fejti ki, miként vált döntő jelentőségűvé az emberré válásunkban - más egyéb tényezők mellett - a szex.<

Berlin, 1939. A young, brilliant trumpet-player, Hieronymus, is arrested in a Paris cafe. The star musician was never heard from again. He was twenty years old. He was a German citizen. And he was black.

Fifty years later, Sidney Griffiths, the only witness that day, still refuses to speak of what he saw. When Chip Jones, his friend and fellow band member, comes to visit, recounting the discovery of a strange letter, Sid begins a slow journey towards redemption.

From the smoky bars of pre-war Berlin to the salons of Paris, Sid leads the reader through a fascinating, little-known world, and into the heart of his own guilty conscience.

Half-Blood Blues is an electric, heart-breaking story about music, race, love and loyalty, and the sacrifices we ask of ourselves, and demand of others, in the name of art.

A Földközi-tenger kiszárítása közben a túlnépesedett Föld lakói rábukkannak egy hatalmas, élő városra, majd az is kiderül, hogy még 26 ilyen létezik a világegyetemben, mindegyik más-más bolygón. Amikor fény derül rá, hogy a városok utaztatni tudják egymás közt lakóikat, föltámad a remény a népességrobbanás problémájának megoldására.
A kolonizáció azonban elmarad, mert a leggazdagabbak kisajátítják maguknak az instant-csillagutazás lehetőségét, a többiek számára pedig maradnak a lassú űrhajójáratok és a tudat asztrál-kivetítése a galaxis távoli pontjaiba. Mivel ez csak keveseknek adatik meg, a sorsát mindeddig némaságban tűrő többségben lassan feltámad az elégedetlenség...
Egy művész és egy test nélkül maradt asztrál-tudat járják az élő városokat, keresve azt a helyet, ahol békés otthonra lelhetnek, de körülöttük minden felbolydul, és még maguk a városok is terveznek valamit. Vajon segíteni akarnak az embereken, vagy épp ellenkezőleg, megszabadítani bolygóikat e veszedelmes élősködőktől?
Jean-Claude Dunyach többszörös díjnyertes francia SF-szerző azon kevesek közé tartozik, akiknek még az angolszász piacra is sikerült betörni műveikkel - és nem véletlenül. Filozofikus jövőmeséje igazi csemege, nemcsak a tudományos-fantasztikum szerelmeseinek, de az új utakat nyitó szépirodalom rajongóinak is.

With her husband Bernard two years in the grave, seventy-nine-year-old Harriet Chance sets sail on an ill-conceived Alaskan cruise only to discover through a series of revelations that she’s been living the past sixty years of her life under entirely false pretenses. There, amid the buffets and lounge singers, between the imagined appearance of her late husband and the very real arrival of her estranged daughter midway through the cruise, Harriet is forced to take a long look back, confronting the truth about pivotal events that changed the course of her life.

Jonathan Evison — bestselling author of , and —has crafted a bighearted novel with a supremely endearing heroine at its center. Through Harriet, he paints a bittersweet portrait of a postmodern everywoman with great warmth, humanity, and humor. Part dysfunctional love story, part poignant exploration of the mother/daughter relationship, nothing is what it seems in this tale of acceptance, reexamination, forgiveness, and, ultimately, healing. It is sure to appeal to admirers of Evison’s previous work, as well as fans of such writers as Meg Wolitzer, Junot Diaz, and Karen Joy Fowler.

A new collection of stories set in the West from "one of the most gifted and versatile of contemporary writers" (NPR)

Percival Everett's long-awaited new collection of stories, his first since 2004's Damned If I Do, finds him traversing the West with characteristic restlessness. A deaf Native American girl wanders off into the desert and is found untouched in a den of rattlesnakes. A young boy copes with the death of his sister by angling for an unnaturally large trout in the creek where she drowned. An old woman rides her horse into a mountain snowstorm and sees a long-dead beloved dog.

For the plainspoken men and women of these stories-fathers and daughters, sheriffs and veterinarians-small events trigger sudden shifts in which the ordinary becomes unfamiliar. A harmless comment about how to ride a horse changes the course of a relationship, a snakebite gives rise to hallucinations, and the hunt for a missing man reveals his uncanny resemblance to an actor. Half an Inch of Water tears through the fabric of the everyday to examine what lies beneath the surface of these lives. In the hands of master storyteller Everett, the act of questioning leads to vistas more strange and unsettling than could ever have been expected.

Ray Welter, who was until recently a highflying advertising executive in Chicago, has left the world of newspeak behind. He decamps to the isolated Scottish Isle of Jura in order to spend a few months in the cottage where George Orwell wrote most of his seminal novel, . Ray is miserable, and quite prepared to make his troubles go away with the help of copious quantities of excellent scotch.

But a few of the local islanders take a decidedly shallow view of a foreigner coming to visit in order to sort himself out, and Ray quickly finds himself having to deal with not only his own issues but also a community whose eccentricities are at times amusing and at others downright dangerous. Also, the locals believe — or claim to believe — that there’s a werewolf about, and against his better judgment, Ray’s misadventures build to the night of a traditional, boozy werewolf hunt on the Isle of Jura on the summer solstice.

El cafetín es un laberinto. Nuestro destino es extraviarnos en sus encrucijadas. Pero algunos presienten una verdad aún más terrible: no se puede salir del bar, no por la falta de puertas, sino porque no hay otra cosa que el bar. El afuera no existe.El hombre a quien llaman el Narrador de Historias está obligado a contar un cuento cada noche, cuando el reloj da las doce. Nadie le presta atención. Anda siempre con unos libros grasientos. En ellos hay —según se dice— infinitos relatos.Amores imposibles de la provincia de Buenos Aires, ciudades lejanas gobernadas por jaurías, santos levitadores, mendigos impiadosos y seres insaciables que se devoran a sí mismos integran el curioso repertorio.Pero el Narrador es también personaje de otra historia que lo muestra involucrado en una conspiración para salir del bar, del tiempo o del lenguaje. Otros sujetos vendrán —a su turno— a duplicar o a triplicar los relatos: el coro, que traduce cada suceso a una obtusa lengua poética, y los loros heréticos, cuya misión es tergiversar.Un lector melancólico podría hallar en estos textos unas ponencias intimidatorias:• No tenemos tiempo de ser nadie. Todos los destinos son el mismo.• Expresados en fórmulas, los episodios más dramáticos de nuestra vida son irremediablemente banales.• No importa lo que hagamos. Se llega al infierno por casualidad.• Toda comunicación es imposible. Nadie ha conocido a nadie.Pero si uno alcanza a leer con la luz adecuada, el libro dice que para salir del infierno hay que amar más allá de las meras preferencias filisteas.O acaso lo que dice es que la única esperanza es cantar bien.<