Harvard symbologist Robert Langdon and French cryptologist Sophie Neveu work to solve the murder of an elderly curator of the Louvre, a case which leads to clues hidden in the works of Da Vinci and a centuries-old secret society.
"Fight Club's estranged narrator leaves his lackluster job when he comes under the thrall of Tyler Durden, an enigmatic young man who holds secret after-hours boxing matches in the basement of bars."--P. [3] of cover.
“A free-wheeling vehicle . . . an unforgettable ride!”—The New York Times Cat’s Cradle is Kurt Vonnegut’s satirical commentary on modern man and his madness. An apocalyptic tale of this planet’s ultimate fate, it features a midget as the protagonist, a complete, original theology created by a calypso singer, and a vision of the future that is at once blackly fatalistic and hilariously funny. A book that left an indelible mark on an entire generation of readers, Cat’s Cradle is one of the twentieth century’s most important works—and Vonnegut at his very best. “[Vonnegut is] an unimitative and inimitable social satirist.”—Harper’s Magazine “Our finest black-humorist . . . We laugh in self-defense.”—Atlantic Monthly
"It began as a mistake." By middle age, Henry Chinaski has lost more than twelve years of his life to the U.S. Postal Service. In a world where his three true, bitter pleasures are women, booze, and racetrack betting, he somehow drags his hangover out of bed every dawn to lug waterlogged mailbags up mud-soaked mountains, outsmart vicious guard dogs, and pray to survive the day-to-day trials of sadistic bosses and certifiable coworkers. This classic 1971 novel—the one that catapulted its author to national fame—is the perfect introduction to the grimly hysterical world of legendary writer, poet, and Dirty Old Man Charles Bukowski and his fictional alter ego, Chinaski.
First published in 1865, these endearing tales of an imaginative child's dream world by Lewis Carroll, pen name for Charles Lutwidge Dodgson, are written with charming simplicity. While delighting children with a heroine who represents their own thoughts and feelings about growing up, the tale is appreciated by adults as a gentle satire on education, politics, literature, and Victorian life in general. All the delightful and bizarre inhabitants of Wonderland are here: the White Rabbit and the Cheshire Cat, the hooka-smoking Caterpillar and the Mad Hatter, the March Hare and the Ugly Duchess. . . and, of course, Alice herself - growing alternately taller and smaller, attending demented tea parties and eccentric croquet games, observing everything with clarity and rational amazement.