In the chaos of early 199s Russia, a paralyzed veteran's wife and stepdaughter conceal the Soviet Union's collapse from him in order to keep him--and his pension--alive, until it turns out the tough old man has other plans. Olga Slavnikova's The Man Who Couldn't Die is an instant classic of post-Soviet Russian literature.
Our siege mentality -- Bad thoughts -- The mademoiselle and the rat man -- An emerging obsession -- The OCD family -- Cruel to be kind -- The God obsession -- Animals and other relatives -- Man hands on misery to man -- The runaway brain -- Daddy's little helper -- The helicopter view -- Long live lobotomy -- Politics and prejudice -- A new dimension -- Final thoughts.
Because of a genetic mutation, Joshua is able to live an extraordinarily long life. He wanders through time and civilizations, ending up in a bar in Portland, Oregon, where he encounters clinical psychologist Robert Call. Robert observes a severely depressed and taciturn man, but his professional instincts and empathetic nature draw him to the mysterious patron, and after several attempts, he finally succeeds in sustaining a reluctant conversation. The interlocutor drops several hints of his longevity, suggesting that he is as old as an ancient coin drawn from his pocket and spun lazily on the bar. Intrigued, Robert convinces Joshua to visit his office, where the wanderer narrates an amazing story that closely parallels the ministry and passion of Christ. But during his long life, Joshua has created a separate persona—one that has evolved as antisocial, aggressive, and misogynistic. Robert becomes acquainted with both personalities, setting up a moral dilemma: Should he alert law enforcement to the dangers of the aggressive one, or seek the truth of the story told by the docile Joshua?
In 1990s Russia, the wife and stepdaughter of a paralyzed veteran conceal the Soviet Union’s collapse from him in order to keep him—and his pension—alive. Olga Slavnikova’s The Man Who Couldn’t Die tells the story of how two women try to prolong a life—and the means and meaning of their own lives—by creating a world that doesn’t change, a Soviet Union that never crumbled. After her stepfather’s stroke, Marina hangs Brezhnev’s portrait on the wall, edits the Pravda articles read to him, and uses her media connections to cobble together entire newscasts of events that never happened. Meanwhile, her mother, Nina Alexandrovna, can barely navigate the bewildering new world outside, especially in comparison to the blunt reality of her uncommunicative husband. As Marina is caught up in a local election campaign that gets out of hand, Nina discovers that her husband is conspiring as well—to kill himself and put an end to the charade. Masterfully translated by Marian Schwartz, The Man Who Couldn’t Die is a darkly playful vision of the lost Soviet past and the madness of the post-Soviet world that uses Russia’s modern history as a backdrop for an inquiry into larger metaphysical questions. “Darkly sardonic…oddly timely, for there are all sorts of understated hints about voter fraud, graft, payoffs, and the endless promises of politicians who have no intention of keeping them…. Slavnikova is a writer American readers will want to have more of.”—Kirkus Reviews (starred review) “A funhouse mirror worth looking into, especially in today’s United States with its alternative facts, unpoetic assertions, and morbid relationship with the past.”—Leeore Schnairsohn, Los Angeles Review of Books
The Man Who ouldn't Be Killed is an unforgettable story of faith and miraculous deliverance in Communist China at the height of the ultural Revolution. Mr. Wong's unflinching courage for the Savior and the miracles that saved his life will inspire you to believe in a _God who is greater than any problem or circumstance.
John Dies at the End is a genre-bending, humorous account of two college drop-outs inadvertently charged with saving their small town--and the world--from a host of supernatural and paranormal invasions. Now a Major Motion Picture. "[Pargin] is like a mash-up of Douglas Adams and Stephen King... 'page-turner' is an understatement." —Don Coscarelli, director, Phantasm I-V, Bubba Ho-tep STOP. You should not have touched this flyer with your bare hands. NO, don't put it down. It's too late. They're watching you. My name is David. My best friend is John. Those names are fake. You might want to change yours. You may not want to know about the things you'll read on these pages, about the sauce, about Korrok, about the invasion, and the future. But it's too late. You touched the book. You're in the game. You're under the eye. The only defense is knowledge. You need to read this book, to the end. Even the part with the bratwurst. Why? You just have to trust me. The important thing is this: The sauce is a drug, and it gives users a window into another dimension. John and I never had the chance to say no. You still do. I'm sorry to have involved you in this, I really am. But as you read about these terrible events and the very dark epoch the world is about to enter as a result, it is crucial you keep one thing in mind: None of this was my fault.
An instant New York Times bestseller! The second gripping novel in the New York Times bestselling Thursday Murder Club series, soon to be a major motion picture from Steven Spielberg at Amblin Entertainment “It’s taken a mere two books for Richard Osman to vault into the upper leagues of crime writers. . . The Man Who Died Twice. . . dives right into joyous fun." —The New York Times Book Review Elizabeth, Joyce, Ron and Ibrahim—the Thursday Murder Club—are still riding high off their recent real-life murder case and are looking forward to a bit of peace and quiet at Cooper’s Chase, their posh retirement village. But they are out of luck. An unexpected visitor—an old pal of Elizabeth’s (or perhaps more than just a pal?)—arrives, desperate for her help. He has been accused of stealing diamonds worth millions from the wrong men and he’s seriously on the lam. Then, as night follows day, the first body is found. But not the last. Elizabeth, Joyce, Ron and Ibrahim are up against a ruthless murderer who wouldn’t bat an eyelid at knocking off four septuagenarians. Can our four friends catch the killer before the killer catches them? And if they find the diamonds, too? Well, wouldn’t that be a bonus? You should never put anything beyond the Thursday Murder Club. Richard Osman is back with everyone’s favorite mystery-solving quartet, and the second installment of the Thursday Murder Club series is just as clever and warm as the first—an unputdownable, laugh-out-loud pleasure of a read.
Adam Silvera reminds us that there’s no life without death and no love without loss in this devastating yet uplifting story about two people whose lives change over the course of one unforgettable day. #1 New York Times bestseller * 4 starred reviews * A School Library Journal Best Book of the Year * A Kirkus Best Book of the Year * A Booklist Editors' Choice * A Bustle Best YA Novel * A Paste Magazine Best YA Book * A Book Riot Best Queer Book * A Buzzfeed Best YA Book of the Year * A BookPage Best YA Book of the Year On September 5, a little after midnight, Death-Cast calls Mateo Torrez and Rufus Emeterio to give them some bad news: They’re going to die today. Mateo and Rufus are total strangers, but, for different reasons, they’re both looking to make a new friend on their End Day. The good news: There’s an app for that. It’s called the Last Friend, and through it, Rufus and Mateo are about to meet up for one last great adventure—to live a lifetime in a single day. In the tradition of Before I Fall and If I Stay, They Both Die at the End is a tour de force from acclaimed author Adam Silvera, whose debut, More Happy Than Not, the New York Times called “profound.” Plus don't miss The First to Die at the End: #1 New York Times bestselling author Adam Silvera returns to the universe of international phenomenon They Both Die at the End in this prequel. New star-crossed lovers are put to the test on the first day of Death-Cast’s fateful calls.
In the next novel in David Handler’s Edgar award-winning series, Stewart “Hoagy” Hoag and his beloved basset hound, Lulu, investigate a murder in a fabled Connecticut summer playhouse Hollywood ghostwriter Stewart “Hoagy” Hoag has chronicled the rise, fall, and triumphant return of many a celebrity. At last he’s enjoying his own, very welcome second act. After hitting a creative slump following the success of his debut novel, Hoagy has found inspiration again. Ensconced with his faithful but cowardly basset hound, Lulu, on a Connecticut farm belonging to his ex-wife, Oscar-winning actress Merilee Nash, he’s busy working on a new novel. He’s even holding out hope that he and Merilee might get together again. Life is simple and fulfilling—which of course means it’s time for complications to set in…. When the police call to ask if he knows the whereabouts of a man named R.J. Romero, Hoagy learns of a dark secret from his ex-wife’s past. It’s already a stressful time for Merilee, who’s directing a gala benefit production of PrivateLives to rescue the famed but dilapidated Sherbourne Playhouse, where the likes of Katherine Hepburn, Marlon Brando and Merilee herself made their professional stage debuts. Her reputation, as well as the playhouse’s future, is at stake. The cast features three of Merilee’s equally famous Oscar-winning classmates from the Yale School of Drama. But it turns out that there’s more linking them to each other—and to their fellow Yale alum, R.J.—than their alma mater. When one of the cast is found murdered, it will take Hoagy’s sleuthing skills and Lulu’s infallible nose to sniff out the truth…before someone else faces the final curtain call.