Modern Fiction

In Modern Manners, cultural guru P. J. O'Rourke provides the essential accessory for the truly contemporary man or woman - a rulebook for living in a world without rules. Traditionally, good manners were a means of becoming as bland and invisible as everyone else, and thus of avoiding calling attention to one's own awkwardness and stupidity.

In 1719 Elizabeth Goose published a collection of rhyming spells as a children's book, creating a spell book of terrifying power. The Librarian of that age managed to dispose of all copies of the book except one, which remained in the possession of Elizabeth Goose and her family, temporarily averting any potential disaster. Now, strange things are happening around the world.

It’s all very well deciding to build the means to save British magick. Top marks for ambitious goals! ...But there are one or two obstacles in the way. For one, said means does not yet exist, and it’ll take a genius to sort that one out. Luckily, we’ve got one of those. We call him Orlando. For another, nothing at all can be built without materials, and no common-or-garden commodities will do. It’s got to be silver. The impossibly rare, virtually extinct kind. This one’s on me, Val and Jay.

As an agent of the Society for Magickal Heritage, I, Cordelia Vesper, have an important job: rescue endangered creatures, artefacts, books and spells wherever they are to be found. It’s a tough job, but somebody’s got to keep British magick alive. So we rescued a valuable book from a long-lost library, only it proved to be unusually... chatty. And it's got a foul mouth, too. What manner of weird magick is this? Somebody else thinks it's pretty interesting, too. Ancestria Magicka, they call themselves. Brand new. Big trouble.

I haven't heard from my mother in six years—which is why I was surprised to receive a summons from her. The peremptory kind. With nothing but a set of map coordinates to guide me, what exactly was I to expect? The short answer? Trouble, for Mother Dearest is in rather a lot of it. And like daughter, like mother, for there’s a shiny artefact in the offing, and only a few gigantic lindworms in the way. Who isn’t up for a minor little challenge like that?

Things have been quiet at the Society lately. Too quiet. It couldn’t possibly last. When a griffin appeared in the Yorkshire skies, it could only mean bad news. There’s only one place in Britain it could have come from and that’s the lost kingdom of Farringale. It’s a dire warning, and there’s worse to come. Turns out we aren’t the only people with an interest in the age-old city of the trolls. Farringale lies under attack—and these people will stop at nothing to take control of its treasures. It’s time for a showdown—the deathly serious kind.

Imagine modern Britain without magick. No fae enclaves. No flying chairs. No magick wands. Giddy gods, no unicorns. Who wants to live in that world? Me neither. But with magick on the decline, that's the world we're ending up with. Meet the Society for Magickal Heritage. Our boss is a disembodied voice. Our headquarters is a sentient house. You could say we've a vested interest in keeping magick alive. Can a ragtag bunch of magicians, necromancers and fae prevail against inevitable ruin and decline? Hell yes. Try and stop us.

In the very near future, an inconceivable attack against the United States will unleash a nightmare across the country - with a vast appetite for chaos and violence. Alex Fletcher, former Marine, will wake to this brutally hostile landscape, thrown headfirst into an epic, near-impossible journey to protect and save his family and friends.

Hank Weller doesn’t help people. He leaves that do-gooder nonsense to his best friend, Beau Winston. Hank does what he wants, when he wants, with whomever he wants—and Hank does not want to hire Charlotte Mitchell to be an exotic dancer at his club, The Pink Pony.

Over the past fifty years, fiction in English has never looked more various. Books bulkier than Victorian three-deckers appear alongside works of minimalist brevity, and experiments with form have produced everything from verse novels to Twitter-thread narratives. This is truly a golden age. But what unites this kaleidoscopic array of genres and styles? Celebrated writer and critic Peter Kemp shows how modern writers are obsessed with the past.

LES GRANDS TEXTES DU XIXe SIÈCLE. 16 juin 1816. L'orage gronde. Dans une ville cachée au milieu des arbres, sur les bords riants du lac de Genève, une petite société s'ennuie. Il y a deux poètes, Byron et Shelley, leurs compagnes, Claire et Mary, un médecin, Polidori. On se raconte d'horribles histoires, selon la mode du temps. On décide même d'en écrire. Dans la nuit, la jeune Mary – elle n'a pas encore 19 ans – ne peut dormir : elle rêve d'un hideux fantasme d'homme.

Mad scientists have never had it so tough. In super-hero comics, graphic novels, films, TV series, video games, and even works of what may be fiction, they are besieged by those who stand against them, devoid of sympathy for their irrational, megalomaniacal impulses to rule, destroy, or otherwise dominate the world as we know it. It’s just not fair. So those of us who are so twisted and sick that we love mad scientists have created this guide.

When a surprise nuclear attack forces Aidan from hiding, he finds the world to be a much different and more deadly place. Now, he'll traverse a post-apocalyptic landscape populated by violent redneck looters, rogue military factions, and an army of hungry undead.... After two combat tours in the Middle East, Aidan Sullivan just wants to be left alone on his family’s ranch in the Texas Hill Country. But when the bombs fall and the dead walk, Aidan risks life and limb to rescue his aging parents from the zombie horde.

Elsie Bovary is a cow, and a pretty happy one at that—her long, lazy days are spent eating, napping, and chatting with her best friend, Mallory. One night, Elsie and Mallory sneak out of their pasture; but while Mallory is interested in flirting with the neighboring bulls, Elsie finds herself drawn to the farmhouse. Through the window, she sees the farmer's family gathered around a bright Box God—and what the Box God reveals about something called an "industrial meat farm" shakes Elsie's understanding of her world to its core.

A convict named Farragut struggles to remain a man while inside a nightmarish prison. Cheever crafted his most powerful work of fiction out of Farragut's suffering and astonishing salvation.

Bold and lyrical, sensual and highly charged, Cereus Blooms at Night is the beautifully written, sensational first novel by Shani Mootoo, one of Canada’s most exciting literary voices. At the core of this haunting multi-generational novel are the shifting faces of Mala - adventurer and protector, recluse, and madwoman. Told by the engaging voice of Tyler, Mala’s vivacious male caretaker at the Paradise Alms House, Cereus Blooms at Night is layered with unforgettable scenes of a world where love and treachery collide.

Each of the best-selling writers represented in Legends II return to the special universe of the imagination that its author has made famous throughout the world. Whether set before or after events already recounted elsewhere, whether featuring beloved characters or compelling new creations, these masterful short novels are both mesmerizing stand-alones (perfect introductions to the work of their authors) and indispensable additions to the epics on which they are based.

Don’t be intimidated by Shakespeare. These audiobook editions make the Bard’s plays accessible and enjoyable.

Twenty-two-year-old Beth Ann is content with her small-town life. That is, until the day America’s electric grid is destroyed by terrorists. What starts out as an inconvenience quickly becomes a catastrophe - not only do the lights stay off, but cars won’t run and phones are dead. The world screeches to a halt. Without communication and basic supplies like food and water, widespread confusion spirals into deadly chaos within days.

On August 10, 1632, five men in flowing black robes convened in a somber Roman palazzo to pass judgment on a deceptively simple proposition: that a continuous line is composed of distinct and infinitely tiny parts. With the stroke of a pen the Jesuit fathers banned the doctrine of infinitesimals, announcing that it could never be taught or even mentioned. The concept was deemed dangerous and subversive, a threat to the belief that the world was an orderly place, governed by a strict and unchanging set of rules.