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What links the Investment Bank of Torabundo, www.myhotswaitress.com (yes, with an s, don't ask), an art heist, a novel called For the Love of a Clown, a six-year-old boy with the unfortunate name of Remington Steele, a lonely French banker, a tiny Pacific island, and a pest control business run by an ex-KGB agent? The Mark and the Void is Paul Murray's madcap new novel of institutional folly, following the success of his wildly original breakout hit, Skippy Dies. While marooned at his banking job in the bewilderingly damp and insular realm known as Ireland, Claude Martingale is approached by a down-on-his-luck author, Paul, looking for his next great subject. Claude finds that his life gets steadily more exciting under Paul's fictionalizing influence; he even falls in love with a beautiful waitress. But Paul's plan is not what it seems—and neither is Claude's employer, the Investment Bank of Torabundo, which swells through dodgy takeovers and derivatives trading until—well, you can probably guess how that shakes out. The Mark and the Void is the funniest novel ever written about the recent financial crisis, and a stirring examination of the deceptions carried out in the names of art and commerce.
WINNER OF THE EVERYMAN WODEHOUSE PRIZE 2016 A comic masterpiece about love, art, greed and the banking crisis, from the author of Skippy Dies What links the Investment Bank of Torabundo, www.myhotswaitress.com (yes, hots with an s, don't ask), an art heist, a novel called For the Love of a Clown, a four-year-old boy named after TV detective Remington Steele, a lonely French banker, a tiny Pacific island, and a pest control business run by an ex-KGB man? You guessed it . . . The Mark and the Void is Paul Murray's madcap new novel of institutional folly, following the success of his wildly original breakout hit, Skippy Dies. While marooned at his banking job in the bewilderingly damp and insular realm known as Ireland, Claude Martingale is approached by a down-on-his-luck author, Paul, looking for his next great subject. Claude finds that his life gets steadily more exciting under Paul's fictionalizing influence; he even falls in love with a beautiful waitress. But Paul's plan is not what it seems-and neither is Claude's employer, the Bank of Torabundo, which inflates through dodgy takeovers and derivatives-trading until-well, you can probably guess how that shakes out. The Mark and the Void is a stirring examination of the deceptions carried out in the names of art, love and commerce - and is also probably the funniest novel ever written about a financial crisis.
Writing to his brother, G’Ra Asim reflects on building his own identity while navigating Blackness, masculinity, and young adulthood—all through wry social commentary and music/pop culture critique How does one approach Blackness, masculinity, otherness, and the perils of young adulthood? For G’Ra Asim, punk music offers an outlet to express himself freely. As his younger brother, Gyasi, grapples with finding his footing in the world, G’Ra gifts him with a survival guide for tackling the sometimes treacherous cultural terrain particular to being young, Black, brainy, and weird in the form of a mixtape. Boyz n the Void: a mixtape to my brother blends music and cultural criticism and personal essay to explore race, gender, class, and sexuality as they pertain to punk rock and straight edge culture. Using totemic punk rock songs on a mixtape to anchor each chapter, the book documents an intergenerational conversation between a Millennial in his 30s and his zoomer teenage brother. Author, punk musician, and straight edge kid, G’Ra Asim weaves together memoir and cultural commentary, diving into the depths of everything from theory to comic strips, to poetry to pizza commercials to mapping the predicament of the Black creative intellectual. With each chapter dedicated to a particular song and placed within the context of a fraternal bond, Asim presents his brother with a roadmap to self-actualization in the form of a Doc Martened foot to the behind and a sweaty, circle-pit-side-armed hug. Listen to the author’s playlist while you read! Access the playlist here: https://sptfy.com/a18b
The bestselling and critically acclaimed novel from Paul Murray, Skippy Dies, shortlisted for the 2010 Costa Book Awards, longlisted for the 2010 Booker Prize, and a finalist for the National Book Critics Circle Award. Why does Skippy, a fourteen-year-old boy at Dublin's venerable Seabrook College, end up dead on the floor of the local doughnut shop? Could it have something to do with his friend Ruprecht Van Doren, an overweight genius who is determined to open a portal into a parallel universe using ten-dimensional string theory? Could it involve Carl, the teenage drug dealer and borderline psychotic who is Skippy's rival in love? Or could "the Automator"—the ruthless, smooth-talking headmaster intent on modernizing the school—have something to hide? Why Skippy dies and what happens next is the subject of this dazzling and uproarious novel, unraveling a mystery that links the boys of Seabrook College to their parents and teachers in ways nobody could have imagined. With a cast of characters that ranges from hip-hop-loving fourteen-year-old Eoin "MC Sexecutioner" Flynn to basketball playing midget Philip Kilfether, packed with questions and answers on everything from Ritalin, to M-theory, to bungee jumping, to the hidden meaning of the poetry of Robert Frost, Skippy Dies is a heartfelt, hilarious portrait of the pain, joy, and occasional beauty of adolescence, and a tragic depiction of a world always happy to sacrifice its weakest members. As the twenty-first century enters its teenage years, this is a breathtaking novel from a young writer who will come to define his generation.
"...a daunting triumph of will pushing its way through imposing roadblocks to a magical country, an absurdist nirvana of humor, pathos, and loss."--Time magazine A Void is a metaphysical whodunit, a story chock-full of plots and subplots, of trails in pursuit of trails, all of which afford Perec occasion to display his virtuosity as a verbal magician. It is also an outrageous verbal stunt: a 300-page novel that never once employs the letter E. The year is 1968, and as France is torn apart by social and political anarchy, the noted eccentric and insomniac Anton Vowl goes missing. Ransacking his Paris flat, his best friends scour his diary for clues to his whereabouts. At first glance these pages reveal nothing but Vowl's penchant for word games, especially for "lipograms," compositions in which the use of a particular letter is suppressed. But as the friends work out Vowl's verbal puzzles, and as they investigate various leads discovered among the entries, they too disappear, one by one by one, and under the most mysterious circumstances . . .
A visceral space thriller—perfect for fans of Arrival and The Martian—following the sole survivor of a catastrophic accident in space that leaves her drifting in the void with only the voice of her estranged husband, a NASA scientist, to guide her back to Earth. Commander Maryam “May” Knox awakes from a medically induced coma alone, adrift in space on a rapidly failing ship, with little to no memory of who she is or why she’s there. Slowly, she pieces together that she’s the captain of the ship, Hawking II; that she was bound for Europa—one of Jupiter’s moons—on a research mission; and that she’s the only survivor of either an accident—or worse, a deliberate massacre—that has decimated her entire crew. With resources running low, and her physical strength severely compromised, May must rely on someone back home to help her. The problem is: everyone thinks she’s dead. Back on Earth, it’s been weeks since Hawking II has communicated with NASA, and Dr. Stephen Knox is on bereavement leave to deal with the apparent death of his estranged wife, whose decision to participate in the Europa mission strained their marriage past the point of no return. But when he gets word that NASA has received a transmission from May, Stephen comes rushing to her aid. What he doesn’t know is that not everyone wants May to make it back alive. Even more terrifying: she might not be alone on that ship. Featuring a twisting and suspenseful plot and compelling characters, Across the Void is a moving and evocative thriller that you won’t be able to put down.
In 1973, at the age of twenty-three, Jim Carroll burst upon the poetry scene with his first collection, Living at the Movies, a book of vivid and inventive verse that won him comparisons to everyone from Arthur Rimbaud to Frank O'Hara. Carroll's first new book of poetry in more than a decade, Void of Course presents work composed over the last two years. His major themes--love, friendship, desire, time and memory, and, above all, the ever-present city--emerge in an atmosphere where dream and reality mingle on equal terms. These seventy-seven poems range from graphic, sensuous shorter pieces to edgy stream-of-consciousness prose poems to longer, more contemplative works such as "While She's Gone," an eerie tour de force of longing over a departed lover. Void of Course establishes that Carroll's power and purity of vision are stronger than ever.
Cassie Black is an ex-con who needs to make one more score in order to fulfill the dream that sustained her in prison.
Vastly entertaining and outright hilarious, Paul Murray’s debut heralds the arrival of a major new Irish talent. His protagonist is endearing and wildly witty–part P. G. Wodehouse’s Bertie Wooster, with a cantankerous dash of A Confederacy of Dunces’ Ignatius J. Reilly thrown in. With its rollicking plot and colorful characters, An Evening of Long Goodbyes is a delightful and erudite comedy of epic proportions. Charles Hythloday observes the world from the comfortable confines of Amaurot, his family estate, and doesn’t much care for what he sees. He prefers the black-and-white sanctum of classic cinema–especially anything starring the beautiful Gene Tierney–to the roiling and rumbling of twenty-first-century Dublin. At twenty-four, Charles aims to resurrect the lost lifestyle of the aristocratic country gentleman–contemplative walks, an ever-replenished drink, and afternoons filled with canapés as prepared by the Bosnian housekeeper, Mrs. P. But Charles’s cozy existence is about to face a serious shake-up. His sister, Bel, an aspiring actress and hopeless romantic, has brought to Amaurot her most recent–and to Charles’s mind, most ill-advised–boyfriend. Frank is hulking and round, and resembles nothing so much as a large dresser, probably a Swedish one. He bets on greyhounds and talks endlessly of brawls and pubs in an accent that brings tears to Charles’s eyes. And, most suspiciously, his entrance into the Hythlodays’ lives just happens to coincide with the disappearance of an ever-increasing number of household antiques and baubles. Soon, Charles and Bel discover that missing heirlooms are the least of their worries; they are simply not as rich as they have always believed. With the family fortune teetering in the balance, Charles must do something he swore he would never do: get a job. Booted into the mean streets of Dublin, he is as unprepared for real life as Frank would be for a cotillion. And it turns out that real life is a tad unprepared for Charles, as well.
'It was because I was afraid that I had decided to attempt a crossing of the great Sahara desert, from west to east, by myself and by camel. No one had ever made such a journey before . . .' In October 1972 Geoffrey Moorhouse began his odyssey across the Sahara from the Atlantic to the Nile, a distance of 3,600 miles. His reason for undertaking such an immense feat was to examine the roots of his fear, to explore an extremity of human experience. From the outset misfortune was never far away; and as he moved further into that 'awful emptiness' the physical and mental deprivation grew more intense. In March 1973, having walked the last 300 miles, Moorhouse, ill and exhausted, reached Tamanrasset, where he decided to end his journey. The Fearful Void is the moving record of his struggle with fear and loneliness and, ultimately, his coming to terms with the spiritual as well as the physical dangers of the desert.