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FICTION

"Fiction is like a spider's web, attached ever so slightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible." Virginia Woolf

Archetypal patterns endure because they give expression to perennial dilemmas submerged in the collective unconscious. Having examined more than 300 novels by both major and minor women writers over three centuries, Annis Pratt perceives in women's fiction distinctive elements of plot, characterization, image, and tone. She argues that women's fiction should be read as a mutually illuminative or interrelated field of texts reflecting feminine archetypes that are signals of a repressed tradition in conflict with patriarchal culture. Pratt suggests that the archetypal patterns in women's fiction provide a ritual expression containing the potential for the reader's personal transformation and that women's novels constitute literary variations on preliterary folk practices that are available in the realm of imagination even when they have long been absent from day-to-day life.

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Archetypal Patterns in Women's Fiction
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A collection of articles which appeared in The Independent on Sunday for 50 weeks between 1991 and 1992. The art of fiction is considered under a wide range of headings, such as the intrusive author, suspense, the epistolary novel, time-shift, magic realism and symbolism and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austin and Fay Weldon, Henry Fielding and James Joyce, David Lodge makes accessible to the general reader the richness and variety of British and American fiction. Technical terms, such as interior monologue, metafiction, intertextuality and the unreliable narrator are explained and the application demonstrated.
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The Art of Fiction: Illustrated from Classic and Modern Texts
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Following the success of last year's debut volume, this Best American Gay Fiction collection broadens the range of contributors, styles, and genres. Here is outstanding new work by such well-known writers as Andrew Holleran, Dale Peck, Michael Nava, and David Wojnarowicz alongside fresh talents who capture the full spectrum of gay life today -- African Americans, Latinos, and Asian Americans. The impressive writing presented here -- all drawn from works published in 1996 -- reflects this diversity as well, and ranges from coming-of-age narratives to reflections on growing older, from edgy 'zine fiction to elegant tales wrought with lapidary precision.

Unified only by their excellence, these twenty-one selections are resounding proof of yet another banner year for gay fiction.

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Best American Gay Fiction
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The best-selling author of The Book of Forms -- now in a third edition -- has created the same codification and systematization for all nonfiction forms of writing, and for all forms of fiction other than poetry. In The Book of Literary Terms, Lewis Turco provides a comprehensive guide to, and definitions of all significant terms, forms, and styles in all genres of literature except poetry. For each, all sub-genres and their historical examples are described and defined, all significant terms explicated, and all important styles represented.

Wonderful for browsing as well as for reference, it is a book for students and teachers of all genres of literature, for serious general readers of literature, and for writers and critics. Turco writes in an authoritative yet engaging manner, providing endless unsuspected opportunities and avenues for readers to explore.

From abecedarius, Bardolatry, cliffhanger, docudrama, epistle, foreshadowing, gagline, hypallage, invective, jestbook, kabuki play, litotes, and muckraker, to non sequitur, one-liner, pulp fiction, quartet, recognition scene, spoonerism, triple-decker, Utopian novel, videotape, writing surfaces, yellow journalism, and zeugma, and including everything in-between, it's all there in The Book of Literary Terms.

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The Book of Literary Terms: The Genres of Fiction, Drama, Nonfiction, Literary Criticism, and Scholarship
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An introduction to the life and works of this Argentinian master-writer.
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Borges and His Fiction: A Guide to His Mind and Art
$35.38
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In 1944, William Faulkner wrote to Malcolm Cowley, "I'm telling the same story over and over which is myself and the world. That's all a writer ever does, he tells his own biography in a thousand different terms."

With these words, Faulkner suggests that what changes in the course of his prolific novel-writing career is not so much the content but the style, "the thousand different terms" of his fiction. The essays in Faulkner and the Craft of Fiction, first presented at the 1987 Faulkner and Yoknapatawpha Conference at the University of Mississippi, focus on Faulkner's narrative inventiveness, on how Faulkner, like his character Benjy in The Sound and the Fury, relentlessly kept "trying to say."

The contributors, authorities on Faulkner's narrative, offer a wide variety of critical approaches to Faulkner's fiction-writing process. Cleanth Brooks, for example, applies the strategies of New Criticism to Faulkner's rendering of the heroic and pastoral modes; Judith L. Sensibar attempts to locate biographical sources for repeated Faulknerian paradigms; and Philip M. Weinstein draws on the theories of the Marxist Althusser and the French psychoanalyst Lacan. The topics examined are similarly wide-ranging.

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Faulkner and the Craft of Fiction: Faulkner and Yoknapatawpha, 1987
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"Murakami is like a magician who explains what he's doing as he performs the trick and still makes you believe he has supernatural powers . . . But while anyone can tell a story that resembles a dream, it's the rare artist, like this one, who can make us feel that we are dreaming it ourselves." --The New York Times Book Review

The year is 1984 and the city is Tokyo.

A young woman named Aomame follows a taxi driver's enigmatic suggestion and begins to notice puzzling discrepancies in the world around her. She has entered, she realizes, a parallel existence, which she calls 1Q84 --"Q is for 'question mark.' A world that bears a question." Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled.

As Aomame's and Tengo's narratives converge over the course of this single year, we learn of the profound and tangled connections that bind them ever closer: a beautiful, dyslexic teenage girl with a unique vision; a mysterious religious cult that instigated a shoot-out with the metropolitan police; a reclusive, wealthy dowager who runs a shelter for abused women; a hideously ugly private investigator; a mild-mannered yet ruthlessly efficient bodyguard; and a peculiarly insistent television-fee collector.

A love story, a mystery, a fantasy, a novel of self-discovery, a dystopia to rival George Orwell's--1Q84 is Haruki Murakami's most ambitious undertaking yet: an instant best seller in his native Japan, and a tremendous feat of imagination from one of our most revered contemporary writers.

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1Q84
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#1 NEW YORK TIMES BESTSELLER - Includes the novella Larger Than Life

Throughout her blockbuster career, Jodi Picoult has seamlessly blended nuanced characters, riveting plots, and rich prose, brilliantly creating stories that "not only provoke the mind but touch the flawed souls in all of us" (The Boston Globe). Now, in her highly anticipated new novel, she has delivered her most affecting work yet--a book unlike anything she's written before.

For more than a decade, Jenna Metcalf has never stopped thinking about her mother, Alice, who mysteriously disappeared in the wake of a tragic accident. Refusing to believe she was abandoned, Jenna searches for her mother regularly online and pores over the pages of Alice's old journals. A scientist who studied grief among elephants, Alice wrote mostly of her research among the animals she loved, yet Jenna hopes the entries will provide a clue to her mother's whereabouts.

Desperate to find the truth, Jenna enlists two unlikely allies in her quest: Serenity Jones, a psychic who rose to fame finding missing persons, only to later doubt her gifts, and Virgil Stanhope, the jaded private detective who'd originally investigated Alice's case along with the strange, possibly linked death of one of her colleagues. As the three work together to uncover what happened to Alice, they realize that in asking hard questions, they'll have to face even harder answers.

As Jenna's memories dovetail with the events in her mother's journals, the story races to a mesmerizing finish. A deeply moving, gripping, and intelligent page-turner, Leaving Time is Jodi Picoult at the height of her powers.

Look for special features inside. Join the Random House Reader's Circle for author chats and more.

Praise for Leaving Time

"Piercing and uplifting . . . a smart, accessible yarn with a suspenseful puzzle at its core."--The Boston Globe

"Poignant . . . an entertaining tale about parental love, friendship, loss."--The Washington Post

"A riveting drama."--Us Weekly

" A] moving tale."--People

"A fast-paced, surprise-ending mystery."--USA Today

"In Jenna, Jodi] Picoult has created an unforgettable character who will easily endear herself to each and every reader. . . . Leaving Time may be her finest work yet."--Bookreporter

" A] captivating and emotional story."--BookPage

"With plenty of twists and a surprising ending, Leaving Time] explores the grieving process and what happens when we cannot move on."--Woman's Day

"A moving and emotional story."--Pittsburgh Post-Gazette

"A truly engaging read . . . Full of the deep characters and multilayered story lines that have earned Picoult] a spot in many readers' hearts."--Library Journal

"Delivers a powerhouse ending."--Booklist

"Memorable and poignant."--Publishers Weekly

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Leaving Time
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The #1 New York Times bestseller that Entertainment Weekly called "a surefire hit."

NOW A GOLDEN GLOBE AND EMMY-WINNING HBO(R) LIMITED SERIES STARRING REESE WITHERSPOON, NICOLE KIDMAN, SHAILENE WOODLEY, ALEXANDER SKARSGARD, LAURA DERN, ADAM SCOTT, AND ZOE KRAVITZ FROM THE DIRECTOR OF WILD AND DALLAS BUYERS CLUB, JEAN-MARC VALLEE, AND WRITER DAVID E. KELLEY

Sometimes it's the little lies that turn out to be the most lethal...
A murder...a tragic accident...or just parents behaving badly?
What's indisputable is that someone is dead. But who did what?

Big Little Lies follows three women, each at a crossroads:

Madeline is a force to be reckoned with. She's funny and biting, passionate, she remembers everything and forgives no one. Her ex-husband and his yogi new wife have moved into her beloved beachside community, and their daughter is in the same kindergarten class as Madeline's youngest (how is this possible?). And to top it all off, Madeline's teenage daughter seems to be choosing Madeline's ex-husband over her. (How. Is. This. Possible?).

Celeste is the kind of beautiful woman who makes the world stop and stare. While she may seem a bit flustered at times, who wouldn't be, with those rambunctious twin boys? Now that the boys are starting school, Celeste and her husband look set to become the king and queen of the school parent body. But royalty often comes at a price, and Celeste is grappling with how much more she is willing to pay.

New to town, single mom Jane is so young that another mother mistakes her for the nanny. Jane is sad beyond her years and harbors secret doubts about her son. But why? While Madeline and Celeste soon take Jane under their wing, none of them realizes how the arrival of Jane and her inscrutable little boy will affect them all.

Big Little Lies is a brilliant take on ex-husbands and second wives, mothers and daughters, schoolyard scandal, and the dangerous little lies we tell ourselves just to survive.

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Big Little Lies
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New York Times bestselling author Christopher Moore channels William Shakespeare and Edgar Allan Poe in this satiric Venetian gothic featuring the irresistibly mischievous Pocket of Dog Snogging, the eponymous hero of Fool

Venice, a really long time ago. Three prominent Venetians await their most loathsome and foul dinner guest, the erstwhile envoy from Britain who also happens to be a favorite of the Doge: the rascal-Fool Pocket.

This trio of cunning plotters the merchant, Antonio; the senator, Montressor Brabantio; and the naval officer, Iago have lured Pocket to a dark dungeon, promising a spirited evening with a rare Amontillado sherry and a fetching young noblewoman. Their invitation is, of course, bogus. The wine is drugged; the girl is nowhere in sight. These scoundrels have something far less amusing planned for the man who has consistently foiled their quest for power and wealth. But this Fool is no fool . . . and the story is only beginning.

Once again, Christopher Moore delivers a rousing literary satire, a dramedy mash-up rich with delights, including (but not limited to): foul plots, counterplots, true love, jealousy, murder, betrayal, revenge, codpieces, three mysterious locked boxes, a boatload of gold, a pound of flesh, occasional debauchery, and water (lots of water). Not to mention a cast Shakespeare himself would be proud of: Shylock; Iago; Othello; a bunch of other guys whose names end in "o"; a trio of comely wenches Desdemona, Jessica, Portia; the brilliant Fool; his large sidekick, Drool; Jeff, the pet monkey; a lovesick sea serpent; and a ghost (yes, there's always a bloody ghost).

Wickedly witty and outrageously inventive, The Serpent of Venice pays cheeky homage to the Bard and illuminates the absurdity of the human condition as only Christopher Moore can.

"

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The Serpent of Venice
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New York Times bestselling author Christopher Moore channels William Shakespeare and Edgar Allan Poe in this satiric Venetian gothic featuring the irresistibly mischievous Pocket of Dog Snogging, the eponymous hero of Fool

Venice, a really long time ago. Three prominent Venetians await their most loathsome and foul dinner guest, the erstwhile envoy from Britain who also happens to be a favorite of the Doge: the rascal-Fool Pocket.

This trio of cunning plotters the merchant, Antonio; the senator, Montressor Brabantio; and the naval officer, Iago have lured Pocket to a dark dungeon, promising a spirited evening with a rare Amontillado sherry and a fetching young noblewoman. Their invitation is, of course, bogus. The wine is drugged; the girl is nowhere in sight. These scoundrels have something far less amusing planned for the man who has consistently foiled their quest for power and wealth. But this Fool is no fool . . . and the story is only beginning.

Once again, Christopher Moore delivers a rousing literary satire, a dramedy mash-up rich with delights, including (but not limited to): foul plots, counterplots, true love, jealousy, murder, betrayal, revenge, codpieces, three mysterious locked boxes, a boatload of gold, a pound of flesh, occasional debauchery, and water (lots of water). Not to mention a cast Shakespeare himself would be proud of: Shylock; Iago; Othello; a bunch of other guys whose names end in "o"; a trio of comely wenches Desdemona, Jessica, Portia; the brilliant Fool; his large sidekick, Drool; Jeff, the pet monkey; a lovesick sea serpent; and a ghost (yes, there's always a bloody ghost).

Wickedly witty and outrageously inventive, The Serpent of Venice pays cheeky homage to the Bard and illuminates the absurdity of the human condition as only Christopher Moore can.

"

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The Serpent of Venice Low Price CD
$15.99
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