An “extremely funny...brilliantly alive” (The New York Times Book Review) social satire of the highest order from bestselling author Sam Lipsyte, centered around an unwitting mindfulness guru and the phenomenon he initiates. In an America convulsed by political upheaval, cultural discord, environmental catastrophe, and spiritual confusion, so many of us find ourselves anxious and distracted, searching desperately for peace, salvation, and—perhaps most immediately—just a little damn focus. Enter Hark Morner, a failed stand-up comic turned mindfulness guru whose revolutionary program is set to captivate the masses. But for Fraz and Tovah, a middle-aged couple slogging through a very rough patch, it may take more than the tenets of Hark’s “Mental Archery” to solve the riddles of love, lust, work, and parenthood on the eve of civilizational collapse. And given the sudden power of certain fringe players, including a renegade Ivy League ethicist, a gentle Swedish kidnapper, a social media tycoon with an empire on the skids, and a mysteriously influential (but undeniably slimy) catfish, it just might be too late. But what’s the point of a world, even a blasted-out post-apocalyptic world, if they don’t try with all their might to keep their marriage alive? In this “awfully funny...tartly effective sendup of 21st-century America” (Star Tribune, Minneapolis) Sam Lipsyte reaches new peaks of daring in a novel that revels in contemporary absurdity and the wild poetry of everyday language while exploring the emotional truths of his characters. “Recommended reading” (Vanity Fair), in which “every line feels as thrillingly charged as a live wire” (O, The Oprah Magazine), Hark is a smart, incisive look at men, women, and children seeking meaning and dignity in a chaotic, ridiculous, and often dangerous world.
The dazzling debut novel from the author of The Ask and Home Land, Sam Lipsyte's The Subject Steve is by turns manic, ebullient, and exquisitely deadpan—and belongs in the company with the master American satirists. Meet Steve (not his real name), a Special Case, in truth, a Terminal Case, and the eponymous antihero of Lipsyte's first novel. Steve has been informed by two doctors that he is dying of a condition of unquestioned fatality, with no discernible physical cause. Eager for fame, and to brand the new plague, they dub it Goldfarb-Blackstone Preparatory Extinction Syndrome, or PREXIS for short. Turns out, though, Steve's just dying of boredom.
The Fun Parts is Sam Lipsyte at his very best—a far-ranging exploration of new voices and vistas from "the most consistently funny fiction writer working today" (Time). A boy eats his way to self-discovery, while another must battle the reality-brandishing monster preying on his fantasy realm. Elsewhere, an aerobics instructor—the daughter of a Holocaust survivor—makes the most shocking leap imaginable to save her soul. These are just a few of the characters you'll encounter in Sam Lipsyte's richly imagined world. Featuring a grizzled and possibly deranged male doula, a doomsday hustler who must face the multi-universal truth of "the real-ass jumbo," and a tawdry glimpse of a high school shot-putting circuit in northern New Jersey, circa 1986, Lipsyte's short stories combine the tragicomic brilliance of his beloved novels with the compressed vitality of Venus Drive.
The hero of this comic novel, Lewis Miner, a.k.a. Teabag, was a high-school stoner, and now makes it his mission to write extremely candid letters to the alumni newsletter. His life, as he writes, 'did not pan out.' He works as a dishwasher in his father's cheesy catering business and spends his free time moping with his friend Gary, who sued his parents for molestation and then sued the shrink who conjured up these false memories. Teabag's letters detail his sexual fantasies (most of which involve the leg warmers of the school's jazz-dancing squad), his stalled ambition, and the misshapen pearls of wisdom he's garnered from his bottomed-out life. The story ends in an improbable shootout, but Lipsyte transfigures Teabag's self-loathing into a sensibility that is both hilarious and noble."--Publisher's description.
In this dark comic novel by the author of Home Land, a college development officer’s last chance to keep his job comes at a high cost. A New York Times Book Review Editors’ Choice Milo Burke—husband, father, development officer at a third-tier university—has just joined the burgeoning class of the newly unemployed. Grasping after off jobs to support his wife and child, Milo is relieved to get another chance from his former boss. All he has to do is reel in a potential donor who, mysteriously, has requested Milo’s involvement. But it turns out that the ask is Milo’s sinister college classmate Purdy Stuart. And the “give” won’t come cheap. Exploring such themes as work, war, sex, class, child rearing, romantic comedies, Benjamin Franklin, cooking shows on death row, and the eroticization of chicken wire, The Ask is a hilarious tour de force from a writer who has already shown that the deepest fictions are often the funniest.
An “extremely funny...brilliantly alive” (The New York Times Book Review) social satire of the highest order from bestselling author Sam Lipsyte, centered around an unwitting mindfulness guru and the phenomenon he initiates. In an America convulsed by political upheaval, cultural discord, environmental catastrophe, and spiritual confusion, so many of us find ourselves anxious and distracted, searching desperately for peace, salvation, and—perhaps most immediately—just a little damn focus. Enter Hark Morner, a failed stand-up comic turned mindfulness guru whose revolutionary program is set to captivate the masses. But for Fraz and Tovah, a middle-aged couple slogging through a very rough patch, it may take more than the tenets of Hark’s “Mental Archery” to solve the riddles of love, lust, work, and parenthood on the eve of civilizational collapse. And given the sudden power of certain fringe players, including a renegade Ivy League ethicist, a gentle Swedish kidnapper, a social media tycoon with an empire on the skids, and a mysteriously influential (but undeniably slimy) catfish, it just might be too late. But what’s the point of a world, even a blasted-out post-apocalyptic world, if they don’t try with all their might to keep their marriage alive? In this “awfully funny...tartly effective sendup of 21st-century America” (Star Tribune, Minneapolis) Sam Lipsyte reaches new peaks of daring in a novel that revels in contemporary absurdity and the wild poetry of everyday language while exploring the emotional truths of his characters. “Recommended reading” (Vanity Fair), in which “every line feels as thrillingly charged as a live wire” (O, The Oprah Magazine), Hark is a smart, incisive look at men, women, and children seeking meaning and dignity in a chaotic, ridiculous, and often dangerous world.
An intense, mordantly funny collection of short fiction from Sam Lipsyte, author of Home Land and The Ask. The Picador paperback edition includes an excerpt from The Ask. A man with an "old soul" finds himself at a Times Square peep show, looking for more than just a little action. A young man goes into some serious regression after finding his deceased mother's stash of morphine. A group of summer-camp sadists return to the scene of the crime. Lipsyte's brutally funny narratives tread morally ambiguous terrain, where desperate characters stumble over hope, or sometimes merely stumble. Written with ferocious wit and surprising empathy, Venus Drive is a potent collection of stories from "a wickedly gifted writer" (Robert Stone).
Manhattan's East Village, 1993. Dive bars, DIY music venues, shady weirdos, and hard drugs are plentiful. Crime is high but rent is low, luring hopeful, creative kids from sleepy suburbs around the country. One of these is Jack S., a young New Jersey rock musician. Just a few days before his band's biggest gig, their lead singer goes missing with Jack's prized bass, presumably to hock it to feed his junk habit. Jack's search for his buddy uncovers a sinister entanglement of crimes tied to local real estate barons looking to remake New York City, and who might also be connected to the recent death of Jack's punk rock mentor. Along the way, Jack encounters a cast of colorful characters, including a bewitching, quick-witted scenester who favors dressing in a nurse's outfit, a monstrous hired killer with a devotion to both figure skating and edged weapons, a deranged if prophetic postwar novelist, and a tough-talking cop who fancies himself a retro-cool icon of the homicide squad but is harboring a surprising secret.
Dai pornoshop di Times Square agli uffici delle mega-aziende, fra drogati che aiutano le vecchiette, ragazzine che pattinano di notte fin dentro l'obitorio cittadino ed ex icone punk finite a lavorare dietro una scrivania, questi tredici racconti di Sam Lipsyte raccontano gli angoli più disperati e surreali dell'America di oggi con un originalissimo black humour e uno stile serrato e incisivo che ricorda il "realismo sporco" di Denis Johnson e Raymond Carver.
The most important new literary journal to emerge since Granta, Open City has published some of the best work by major writers and artists such as Mary Gaitskill, Denis Johnson, Jeff Koons, David Foster Wallace, Irvine Welsh, Terry Southern, Patrick McCabe, Sam Lipsyte, and David Berman. Edited by the writers Thomas Beller and Daniel Pinchbeck and originally published by the late Robert Bingham, writing from Open City has been included in many prestigious anthologies, including Best American Short Stories and The Pushcart Prize. Known for launching the careers of today's best new writers, the editors are also committed to printing important unpublished work by writers from past eras, such as Richard Yates, Delmore Schwartz, Jim Thompson, Cyril Connolly, Edvard Munch, and Gregor von Rezzori. With its innovative and daring mix of the old and the new, Open City combines undiscovered writing by classic authors with a fascinating portrait of a literary generation in the making. Open City #12 includes "After the Wall", a special section on Berlin's new generation of fiction writers; a story by Lewis Cole on the end of radicalism; and debut fiction by Sam Brumbaugh and Heather Lorimer. This issue features a previously unpublished story by Ford Maddox Ford.
E. J. Rath was the pen name of Chauncey Brainerd and his wife Edith Rathbone Jacobs Brainerd (1885-1922), both American writers. Many of their novels were adapted for stage or film, and include "Once Again," "The Nervous Wreck" and others.
Manhattan's East Village, 1993. Dive bars, DIY music venues, shady weirdos, and hard drugs are plentiful. Crime is high but rent is low, luring hopeful, creative kids from sleepy suburbs around the country. One of these is Jack S., a young New Jersey rock musician. Just a few days before his band's biggest gig, their lead singer goes missing with Jack's prized bass, presumably to hock it to feed his junk habit. Jack's search for his buddy uncovers a sinister entanglement of crimes tied to local real estate barons looking to remake New York City, and who might also be connected to the recent death of Jack's punk rock mentor. Along the way, Jack encounters a cast of colorful characters, including a bewitching, quick-witted scenester who favors dressing in a nurse's outfit, a monstrous hired killer with a devotion to both figure skating and edged weapons, a deranged if prophetic postwar novelist, and a tough-talking cop who fancies himself a retro-cool icon of the homicide squad but is harboring a surprising secret.
An “extremely funny...brilliantly alive” (The New York Times Book Review) social satire of the highest order from bestselling author Sam Lipsyte, centered around an unwitting mindfulness guru and the phenomenon he initiates. In an America convulsed by political upheaval, cultural discord, environmental catastrophe, and spiritual confusion, so many of us find ourselves anxious and distracted, searching desperately for peace, salvation, and—perhaps most immediately—just a little damn focus. Enter Hark Morner, a failed stand-up comic turned mindfulness guru whose revolutionary program is set to captivate the masses. But for Fraz and Tovah, a middle-aged couple slogging through a very rough patch, it may take more than the tenets of Hark’s “Mental Archery” to solve the riddles of love, lust, work, and parenthood on the eve of civilizational collapse. And given the sudden power of certain fringe players, including a renegade Ivy League ethicist, a gentle Swedish kidnapper, a social media tycoon with an empire on the skids, and a mysteriously influential (but undeniably slimy) catfish, it just might be too late. But what’s the point of a world, even a blasted-out post-apocalyptic world, if they don’t try with all their might to keep their marriage alive? In this “awfully funny...tartly effective sendup of 21st-century America” (Star Tribune, Minneapolis) Sam Lipsyte reaches new peaks of daring in a novel that revels in contemporary absurdity and the wild poetry of everyday language while exploring the emotional truths of his characters. “Recommended reading” (Vanity Fair), in which “every line feels as thrillingly charged as a live wire” (O, The Oprah Magazine), Hark is a smart, incisive look at men, women, and children seeking meaning and dignity in a chaotic, ridiculous, and often dangerous world.
An intense, mordantly funny collection of short fiction from Sam Lipsyte, author of Home Land and The Ask. The Picador paperback edition includes an excerpt from The Ask. A man with an "old soul" finds himself at a Times Square peep show, looking for more than just a little action. A young man goes into some serious regression after finding his deceased mother's stash of morphine. A group of summer-camp sadists return to the scene of the crime. Lipsyte's brutally funny narratives tread morally ambiguous terrain, where desperate characters stumble over hope, or sometimes merely stumble. Written with ferocious wit and surprising empathy, Venus Drive is a potent collection of stories from "a wickedly gifted writer" (Robert Stone).
The Fun Parts is Sam Lipsyte at his very best—a far-ranging exploration of new voices and vistas from "the most consistently funny fiction writer working today" (Time). A boy eats his way to self-discovery, while another must battle the reality-brandishing monster preying on his fantasy realm. Elsewhere, an aerobics instructor—the daughter of a Holocaust survivor—makes the most shocking leap imaginable to save her soul. These are just a few of the characters you'll encounter in Sam Lipsyte's richly imagined world. Featuring a grizzled and possibly deranged male doula, a doomsday hustler who must face the multi-universal truth of "the real-ass jumbo," and a tawdry glimpse of a high school shot-putting circuit in northern New Jersey, circa 1986, Lipsyte's short stories combine the tragicomic brilliance of his beloved novels with the compressed vitality of Venus Drive.
Told by his physicians that he is dying of a terminal illness that they call Goldfarb-Blackstone Preparatory Extinction Syndrome, Steve--a divorced husband, absent father, and advertising executive--will do anything to avoid his death sentence and heads for the Center for Nondenominational Recovery and Redemption in the hopes of a cure. A first novel. Reprint.
This is the first book to focus exclusively on an examination of early 21st-century adult reading aloud. The dominant contemporary image of reading in much of the world is that of a silent, solitary activity. This book challenges this dominant discourse, acknowledging the diversity of reading practices that adults perform or experience in different communities, languages, contexts and phases of our lives, outlining potential educational implications and next steps for literacy teaching and research. By documenting and analysing the diversity of oral reading practices that adults take part in (on- and offline), this book explores contemporary reading aloud as hugely varied, often invisible and yet quietly ubiquitous. Duncan discusses questions such as: What, where, how and why do adults read aloud, or listen to others reading? How do couples, families and groups use oral reading as a way of being together? When and why do adults read aloud at work? And why do some people read aloud in languages they may not speak or understand? This book is key reading for advanced students, researchers and scholars of literacy practices and literacy education within education, applied linguistics and related areas.
Hayward Theiss is on the lam, hiding out in a Malibu beach house that is not his and trying to figure out how he got there. A car crash, a bag of dope, a sinister producer, and his best friend's strange escape from rehab all complicate matters further.
What if somebody finally wrote to his high school alumni bulletin and told...the truth! Home Land is a brilliant work from novelist Sam Lipsyte, whom Jeffrey Eugenides calls "original, devious, and very funny" and of whose first novel Chuck Palahniuk wrote, "I laughed out loud--and I never laugh out loud." The Eastern Valley High School Alumni newsletter, Catamount Notes, is bursting with tales of success: former students include a bankable politician and a famous baseball star, not to mention a major-label recording artist. Then there is the appalling, yet utterly lovable, Lewis Miner, class of '89--a.k.a Teabag--who did not pan out. Home Land is his confession in all its bitter, lovelorn glory. Winner of the Believer Book Award New York Times Notable Book of the Year
From “getting loose” to “letting it all hang out,” the 1970s were filled with exhortations to free oneself from artificial restraints and to discover oneself in a more authentic and creative life. In the wake of the counterculture of the 1960s, anything that could be made to yield to a more impulsive vitality was reinvented in a looser way. Food became purer, clothing more revealing, sex more orgiastic, and home decor more rustic and authentic. Through a sociological analysis of the countercultural print culture of the 1970s, Sam Binkley investigates the dissemination of these self-loosening narratives and their widespread appeal to America’s middle class. He describes the rise of a genre of lifestyle publishing that emerged from a network of small offbeat presses, mostly located on the West Coast. Amateurish and rough in production quality, these popular books and magazines blended Eastern mysticism, Freudian psychology, environmental ecology, and romantic American pastoralism as they offered “expert” advice—about how to be more in touch with the natural world, how to release oneself into trusting relationships with others, and how to delve deeper into the body’s rhythms and natural sensuality. Binkley examines dozens of these publications, including the Whole Earth Catalog, Rainbook, the Catalog of Sexual Consciousness, Celery Wine, Domebook, and Getting Clear. Drawing on the thought of Pierre Bourdieu, Zygmunt Bauman, and others, Binkley explains how self-loosening narratives helped the middle class confront the modernity of the 1970s. As rapid social change and political upheaval eroded middle-class cultural authority, the looser life provided opportunities for self-reinvention through everyday lifestyle choice. He traces this ethos of self-realization through the “yuppie” 1980s to the 1990s and today, demonstrating that what originated as an emancipatory call to loosen up soon evolved into a culture of highly commercialized consumption and lifestyle branding.
Passages: On geo-analysis and the aesthetics of precarity is a multi-genre and transdisciplinary text addressing themes such as colonialism, nuclear zones of abandonment, migration control regimes, transnational domestic work, the biocolonial hostilities of the hospitality industry, legal precarities behind the international criminal justice regime, the shadow-worlds of the African soccerscape, and immunity regimes related to the COVID-19 pandemic. This book invites inquiry into today’s apocalyptic narratives, humanitarian reason, and international criminal justice regimes, as well as the precarity generated by citizen time and 'consulate time'. The aesthetic breaks emerging from the book’s image-text montage draw attention to the ethics of encounter and passage that challenges colonial, domestic, and nation-statist sovereignty regimes of inattention.
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