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The New Yorker is, of course, a bastion of superb essays, influential investigative journalism, and insightful arts criticism. But for eighty years, it’s also been a hoot. In fact, when Harold Ross founded the legendary magazine in 1925, he called it “a comic weekly,” and while it has grown into much more, it has also remained true to its original mission. Now an uproarious sampling of its funny writings can be found in a hilarious new collection, one as satirical and witty, misanthropic and menacing, as the first, Fierce Pajamas. From the 1920s onward–but with a special focus on the latest generation–here are the humorists who set the pace and stirred the pot, pulled the leg and pinched the behind of America. S. J. Perelman unearths the furious letters of a foreign correspondent in India to the laundry he insists on using in Paris (“Who charges six francs to wash a cummerbund?!”). Woody Allen recalls the “Whore of Mensa,” who excites her customers by reading Proust (or, if you want, two girls will explain Noam Chomsky). Steve Martin’s pill bottle warns us of side effects ranging from hair that smells of burning tires to teeth receiving radio broadcasts. Andy Borowitz provides his version of theater-lobby notices (“In Act III, there is full frontal nudity, but not involving the actor you would like to see naked”). David Owen’s rules for dating his ex-wife start out magnanimous and swiftly disintegrate into sarcasm, self-loathing, and rage, and Noah Baumbach unfolds a history of his last relationship in the form of Zagat reviews. Meanwhile, off in a remote “willage” in Normandy, David Sedaris is drowning a mouse (“This was for the best, whether the mouse realized it or not”). Plus asides, fancies, rebukes, and musings from Patty Marx, Calvin Trillin, Bruce McCall, Garrison Keillor, Veronica Geng, Ian Frazier, Roy Blount, Jr., and many others. If laughter is the best medicine, Disquiet, Please is truly a wonder drug. From the Hardcover edition.
Is the drop-dead gorgeous psychiatrist in love or is some other far more nefarious plot afoot? The Journey pulls us in and leaves us wondering.Told she was schizophrenic at 19, it takes a trip to an unexpected homeland for the real truth to sink in: she is not crazy, but psychic.Raised by a degreed registered nurse and thus devoted to Western medicine, the hardest person to convince is herself, but by the end of Detective Fiction, the game between her self, her spiritual helpers, and the doppelganger who refuses to leave her alone becomes cold, calculating, and a clear risk to her survival.
Using the comedies of Nora Ephron as her guidebook, thirty-nine-year-old divorced columnist Molly tries to navigate the world of romance in the bustling heart of New York City.
Fleeing a violent marriage, Olivia returns to her childhood home with her two young children and a broken arm. The house is imposing, surrounded by high walls and yew trees clipped into fantastical shapes, and her mother's rules create an atmosphere of brittle control. By coincidence, another couple are expected at the house at the same time: Olivia's brother Marcus and his wife Sophie are coming back from the hospital with their newborn. But Marcus and Sophie also bring along with them a tragic secret, a secret that will push the whole family towards breaking point... 'Julia Leigh is one of the greatest living writers.' Simon Schama, Guardian Books of the Year 'I loved it . . . A modern gothic classic.' Sarah Hall
With its astounding hardcover reviews Richard Zenith's new complete translation of THE BOOK OF DISQUIET has now taken on a similar iconic status to ULYSSES, THE TRIAL or IN SEARCH OF LOST TIME as one of the greatest but also strangest modernist texts. An assembly of sometimes linked fragments, it is a mesmerising, haunting 'novel' without parallel in any other culture.

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