Warren Ziller moved his family to Southern California in search of a charmed life, and to all appearances, he found it: a gated community not far from the beach, amid the affluent splendor of the 1980s. But the Zillers’ American dream is about to be rudely interrupted. Warren has squandered their savings on a bad real estate investment, which he conceals from his wife, Camille, who misreads his secrecy as a sign of an affair. Their children, Dustin, Lyle, and Jonas, have grown as distant as satellites, too busy with their own betrayals and rebellions to notice their parents’ distress. When tragedy strikes, the Zillers are forced to move to Warren’s abandoned housing development in the desert. In this comically bleak new home, each must reckon with what’s led them there and who’s to blame — and whether they can summon the forgiveness needed to hold the family together. With penetrating insights into modern life and an uncanny eye for everyday absurdities, Eric Puchner delivers a wildly funny, heartbreaking, and thoroughly original portrait of an American family

Adam Day is the recipient of fellowships from the Poetry Society of America and Kentucky Arts Council, and a PEN Emerging Writers Award. His work has appeared in Boston Review, the Kenyon Review, American Poetry Review, AGNI, the Iowa Review, and others

Como insinúa el propio título, Modelos de mujer, estos siete relatos están todos protagonizados por mujeres que, en distintas edades y circunstancias, se enfrentan todas ellas, en algún momento, a hechos extraordinarios. Todos, menos el que da título al libro, están de un modo u otro ligados a la infancia, a la capacidad de desear como motor de la voluntad, de los actos de voluntad que las protagonistas deberán asumir para impedir que la vida las avasalle. En los tres primeros cuentos -«Los ojos rotos», «Malena, una vida hervida» y «Bárbara contra la muerte»-, los personajes femeninos vencen, cada uno a su manera, a la muerte: la pequeña Miguela, la mujer mongólica que se enamora de un fantasma, Malena, que se pasa la vida haciendo régimen por amor, y Bárbara, que acompaña a su abuelo a pescar. En los cuatro últimos -«El vocabulario de los balcones», «Amor de madre», «Modelos de mujer» y «La buena hija»-, las protagonistas tuercen el destino a su favor recurriendo unas al poder de seducción y otras a la fuerza de la razón, y todas con la voluntad que les otorga el firme deseo de no tolerar que la vida se les escape de las manos

From the New York Times‒bestselling author of The Vacationers, a smart, highly entertaining novel about a tight-knit group of friends from college — their own kids now going to college — and what it means to finally grow up well after adulthood has set in. Friends and former college bandmates Elizabeth and Andrew and Zoe have watched one another marry, buy real estate, and start businesses and families, all while trying to hold on to the identities of their youth. But nothing ages them like having to suddenly pass the torch (of sexuality, independence, and the ineffable alchemy of cool) to their own offspring. Back in the band's heyday, Elizabeth put on a snarl over her Midwestern smile, Andrew let his unwashed hair grow past his chin, and Zoe was the lesbian all the straight women wanted to sleep with. Now nearing fifty, they all live within shouting distance in the same neighborhood deep in gentrified Brooklyn, and the trappings of the adult world seem to have arrived with ease. But the summer that their children reach maturity (and start sleeping together), the fabric of the adults' lives suddenly begins to unravel, and the secrets and revelations that are finally let loose — about themselves, and about the famous fourth band member who soared and fell without them — can never be reclaimed. Straub packs wisdom and insight and humor together in a satisfying book about neighbors and nosiness, ambition and pleasure, the excitement of youth, the shock of middle age, and the fact that our passions — be they food, or friendship, or music — never go away, they just evolve and grow along with us

Džons Golsvertijs Modernā komēdija Forsaitu cikla triloģijas otrā daļa. Pirmā – „Forsaitu teika”, trešā – „Pēdējā lappuse”. Otrā daļa – „Modernā komēdija” sastāv no trim grāmatām – 1. „Baltais pērtiķis”, 2. „Sudraba karote”, 3. „Gulbja dziesma”. LVI RĪGĀ 1962 no angļu val. tulk. Ilga Melnbārde FB2 failu izveidojis Imants Ločmelis

Z zakładu dla umysłowo chorych ucieka Michael Hrubek, pacjent ze schizofrenią paranoidalną. I ma przed sobą ściśle określony cel: odnaleźć Lis Atcheson – to jej zeznania sprawiły, że uznano go za potwora i skazano na zamknięcie. Podczas burzy, sprzyjającej szaleńcowi, ścigają go teraz trzej ludzie: psychiatra Kohler – przekonany o niewinności swego pacjenta, zawodowy tropiciel Heck – liczący na nagrodę za schwytanie szaleńca, i Atcheson – mąż Lis, który musi dopaść Hrubeka, nim ten skrzywdzi jego żonę…