Kurt Vonnegut’s masterpiece, Slaughterhouse-Five is “a desperate, painfully honest attempt to confront the monstrous crimes of the twentieth century” (Time). Selected by the Modern Library as one of the 100 best novels of all time • One of The Atlantic’s Great American Novels of the Past 100 Years Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber’s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming “unstuck in time.” An instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut’s writing—the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit—that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Authors as wide-ranging as Norman Mailer, John Irving, Michael Crichton, Tim O’Brien, Margaret Atwood, Elizabeth Strout, David Sedaris, Jennifer Egan, and J. K. Rowling have all found inspiration in Vonnegut’s words. Jonathan Safran Foer has described Vonnegut as “the kind of writer who made people—young people especially—want to write.” George Saunders has declared Vonnegut to be “the great, urgent, passionate American writer of our century, who offers us . . . a model of the kind of compassionate thinking that might yet save us from ourselves.” More than fifty years after its initial publication at the height of the Vietnam War, Vonnegut’s portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era’s uncertainties.
Huxley's story shows a futuristic World State where all emotion, love, art, and human individuality have been replaced by social stability. An ominous warning to the world's population, this literary classic is a must-read.
Before Brave New World... Before 1984...There was... WE In the One State of the great Benefactor, there are no individuals, only numbers. Life is an ongoing process of mathematical precision, a perfectly balanced equation. Primitive passions and instincts have been subdued. Even nature has been defeated, banished behind the Green Wall. But one frontier remains: outer space. Now, with the creation of the spaceship Integral, that frontier -- and whatever alien species are to be found there -- will be subjugated to the beneficent yoke of reason. One number, D-503, chief architect of the Integral, decides to record his thoughts in the final days before the launch for the benefit of less advanced societies. But a chance meeting with the beautiful 1-330 results in an unexpected discovery that threatens everything D-503 believes about himself and the One State. The discovery -- or rediscovery -- of inner space...and that disease the ancients called the soul. A page-turning SF adventure, a masterpiece of wit and black humor that accurately predicted the horrors of Stalinism, We is the classic dystopian novel. Its message of hope and warning is as timely at the end of the twentieth century as it was at the beginning.
With the intrigue of a psychological thriller, The Stranger—Camus's masterpiece—gives us the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach. With an Introduction by Peter Dunwoodie; translated by Matthew Ward. Behind the subterfuge, Camus explores what he termed "the nakedness of man faced with the absurd" and describes the condition of reckless alienation and spiritual exhaustion that characterized so much of twentieth-century life. “The Stranger is a strikingly modern text and Matthew Ward’s translation will enable readers to appreciate why Camus’s stoical anti-hero and devious narrator remains one of the key expressions of a postwar Western malaise, and one of the cleverest exponents of a literature of ambiguity.” –from the Introduction by Peter Dunwoodie First published in 1946; now in translation by Matthew Ward.
Connie Willis has won more Hugo and Nebula awards than any other science fiction author. Now, with her trademark wit and inventiveness, she explores the intimate relationship between science, pop culture, and the arcane secrets of the heart. Sandra Foster studies fads—from Barbie dolls to the grunge look—how they start and what they mean. Bennett O'Reilly is a chaos theorist studying monkey group behavior. They both work for the HiTek corporation, strangers until a misdelivered package brings them together. It's a moment of synchronicity—if not serendipity—which leads them into a chaotic system of their own, complete with a million-dollar research grant, caffé latte, tattoos, and a series of unlucky coincidences that leaves Bennett monkeyless, fundless, and nearly jobless. Sandra intercedes with a flock of sheep and an idea for a joint project. (After all, what better animal to study both chaos theory and the herd mentality that so often characterizes human behavior?) But scientific discovery is rarely straightforward and never simple, and Sandra and Bennett have to endure a series of setbacks, heartbreaks, dead ends, and disasters before they find their ultimate answer. . . . Praise for Bellwether “One of science fiction's best writers.”—The Denver Post “Connie Willis deploys the apparatus of science fiction to illuminate character and relationships, and her writing is fresh, subtle, and deeply moving.”—The New York Times Book Review “Keen social satire touched with genuine humanity . . . Connie Willis's fiction is one of the most intelligent delights of our genre.”—Locus “A sheer pleasure to read . . . Sprightly, intelligent fun.”—Publishers Weekly
The National Book Award-winning classic from the author of Underworld and Libra—an “eerie, brilliant, and touching” (New York Times) family drama about mass culture and the numbing effects of technology—soon to be a major motion picture starring Adam Driver and Greta Gerwig White Noise tells the story of Jack Gladney, his fourth wife, Babette, and four ultramodern offspring as they navigate the rocky passages of family life to the background babble of brand-name consumerism. When an industrial accident unleashes an "airborne toxic event," a lethal black chemical cloud floats over their lives. The menacing cloud is a more urgent and visible version of the "white noise" engulfing the Gladneys—radio transmissions, sirens, microwaves, ultrasonic appliances, and TV murmurings—pulsing with life, yet heralding something ominous.
